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Lots of good
new music from:

THE WACO
BROTHERS | -

MARK
PICKEREL
JUSTIN

TOWNES
EARLE

and loads more
BLOODSHOT seus

Featuring Brent Cooper of pa Fag CLUS UL bw
the electric guitar, Vista Was Country Squire is filled
Cee ren IE PRL
USOT El

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CD/LP OUT JULY 8

» — Pie NIV
si a ag a male ella
; : : : ctl a : : RADIO SHOW!
slimming mirrors, fla 1 bales biw “OBVIOUS” z } EVERY i ae Re RRR |

Ri Bsa mi
eRe ane fr esta) Saas PN ae)
www.myspace.com/theawkwardstageband a Meret i ru oe

M a RECORDS www.mintrecs.com

testis)

First of eR To imply
tosh ¥ ag 04 is “Unmanly’
$ alread problematic -
but te use” ay"
asa negati g
Signities or te
Undiced

Next: The Gift

Mess+Aesthetics. Between 1977 and '81 hundreds of bands in the
U.K. put out their own records and tapes -on the cheap and utterly
105 ARES without apology. With "D.1.Y.", punk and everything that came
before it collided gloriously with D.1.Y.'s fresh aesthetic of making
and sharing music without any pretension to popular success.
There's no common style: instead these songs are united by wit,
enthusiasm, musical risk-taking ...and o conspicuous lack of pose.

Messthetics Greatest Hits: “This CD should be part of everyone's
collection... Some of the greatest music that never was." —Byron

Fey be LAS Cede yi

Messthetics #1018102: “A mind-boggling array of mavericks, weirdos
and experimentalists...more entries in the series are eagerly awaited."

MESSTH rr **** -Kieron Tyler, Mojo. “Simply brilliant” -Jon Bywater, The Wire

#IOZ 2.7781- “A collector's paradise of obscurities." Everett True, Plan B.
Pree. Messthetics #103: “Definitive of the series’ brilliance..." —The Wire
“Smells like teen spirit -in its purest, Peel-championed form...{a]
% sparkling gem." *%#&&-Kris Needs, Record Collector
Messthetics #104: "The sheer exhaustiveness and comprehensiveness
of these...is incredible" ~Stuart Macounie / “amazingly compiled..
incredible stuff"~Justin Spears, BBC Radio 6; “The Freak Zone”.
“The hugely worthwhile Messthetics series ..." The Sunday Times.
“As always with this series, the results are stellar" -Detailed Twang.
a 1 Messthetics #105: “‘Album of the Week’ - This is a lovingly curated
collection of scruffy Scottish punk and indie rock instigated by the
WUTT Eat eer US label, Messthetics...[It's] hard to imagine anyone in
Thee Scotland devoting the same fime and attention to detail to th aed Aj
Leet LONDON I produce such a labour of love"-Colin Somerville, The Scotsman. eel rey TS
“This is exemplary once more" -The Wire

NEW CON
RECK

ECO
ORD.
ROLLING lowes RODS ‘

OW AVAILARL ¢ Mt:
R

_ DOWNLOAD. TP NOW On

os
sa amazoncom “sie*

iTunes

ON THE CORNER OF 34*& &* THERE'S A WOMAN WHO BM SHE DOESMT BOTHER ANYONE. SHE JUST PRAYS FOR HER
STANDS THERE EVERY OTHER THURSDAY, Alt DAY. GRANDSON ANGEL, WHO WAS AT THE CLUB ON 34% & 6"
WITH HIS GIRLFRIEND EIGHT YeARS AGO:

THE MORMING AFTER PEDESTRINNS HAD NO IDEA WHAT HAD BRNO MATTER HOW MANY CONTS OF PAINT ARE APPLIED,
HAPPENED. THEY TRIED TO NOT STEP ON THE “RONEN FOOD” BMATHEY STILL CANT GET THE STRINS OFF OF THE WALL.
oR Sluts OF RED lubat

2 Salt 2 ig . Og
EIGHT YeRRS AGO ON THE CORNER OF 34" 4 8", SHES Beet PRAYING EVER SINCE.

THE WOMAN'S GRANDSON WAS TAKEN AWRY FROM HER.

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SE THIS NUMBER! |

NEW LIVE CD by THE POLKAHOLICS!!
13 twisted songs of oompah-pow POLKA!

With cover artwork by Gentleman John Battles!

GET YOURS TODAY! $12 postpaid to:
The Polkaholics, Box 803664, Chicago IL 60680

www.thepolkaholics.com

july fourth toilet

visit our NEW website!
candid history of our legendary
stage performances!
reissues of classic recordings!
THE WHITE (TRASH) ALBUM!
you never heard it “til now:
Canada Day BBQ 1995 live show
from our vaults, now on CDR!

www .julyfourthtoilet.com

OUT NOW: >>>>>>>>>2>3>>>>>>>>>> >>> 2S 3 >>>>
PANZER TALK
self-titled 12”

“..there’s something else
here, something kind of
forlorn and cracked...this
record harkens back to
1990's indie-rock nicely
when...it sounded more
post-punk than post-
Pitchfork...the record has
grown on me.”

o -Blastitude.com

Who likes THE ALLMAN BROTHERS, CHARLIE PRIDE and
THE SMITHS if they were on SST in the late-80's? Country
music, folk-rock, shoegaze and an eerie minimalism converge
on this record. Feel free to reference ERIC’S TRIP, DINOSAUR
JR., Waylon Jennings, THE BAND, pictures of colorful pea-
cocks, cough syrup, AKAI tape machines, Fonotone records.

This recording is presented on 140 gram vinyl wrapped in a
full-color, vomit inducing jacket, and a 5-color screened
envelope CD version is available, as well.

For Still: BATTLESHIP Hearts Addenum & Presents Princess CD's. “For
those who have been there,..the perfect souvenier for the sad moment when|
the ringing in your ears subsides.” BLACK FLAG/BIRTHDAY PARTY garbage
Scraped from the floor of an Oakland, CA warehouse; and do not forget our
catalog: PIRANHAS, POPULAR SHAPES, KURT, APPRECIATION, etc.

On/On Switch > San Francisco, CA > ononswitch.com

ESHA CTT
terrorists

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ALL CONTENTS Qeery, ASIC
CRIMEWANE 2008

I SPewr two YEARS WORKING In THe OvR BiG ACTS WERE STONER “Jam" BANDS FaEe BIER AND witD STORIES Almost
KITCHEN OF A SLEAZY, 2we-RATE Rock cLuUB AND HAS- BEENS ON soto ACousTIC TovRS.. UP FoR THE LAC Of money oR Seur- Rewer.

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to Sleep FS ote.

Joey GERMS SOMEWHERE WW A RECORDING STUDIO WEST OF THE Loof,

©x',dll

MY NAME Is CHeT.
S'Lt BE YouR SwdIo
ENGINEER,

The little Cucumber slept soundly at
the bottom of a pickling barrel full
of Spicy brine, Knowing that when he
woke hed be @ hew pickle.

‘Nam Biah' By King Merinuk

NERICAN QUEEN © AM So WE STAY >
COCLOUTSON © HEAVY BANNERS,
BD Rae tet

Bd ae Bale aro otal cy

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Unbeknownst to humankind, gigantic overlords visited here in prehistoric times, decisively affecting evolution! They created two super-human races — one, purebred and immortal, the other, geneti-
Cally unstable grotesqueries whose only chance at survival was conquest. The overlords departed, returning once a millennium to judge their experiment. On their first return, they crushed the rebel-
lious so-called Deviants, and The Eternals (now perceived as gods) were enjoined to keep peace. The outcasts have withdrawn beneath earth's ‘surface, but with the celestial overlords imminent

return, one wrong move could result in the extermination of earth's harshest secret — called

Deviants, and The Eternals (now perceived as Gods) were enjoined to keep peace. The

outcasts have withdrawn beneath eartn’s surface, but with the celestial overlords imminent

return, one wrong move could result in the extermination of earth’s harshest secret — Oo

AND SHE WAS Ld.
AS BEAUTIFUL
AS HER 7

So5 MOTHER,,, °

THE SIMILARITIES WENT DEEPER THOUGH...
IT TOOK SEVERAL INCIDENTS FOR ME
TO PUT IT TOGETHER...

Z TRIED T0 REACH HER, BUT SHE WAS

MY DEAR.,
COME BACK, SIT DOWN..,

MARGOT,,,

IT'S BEEN

FOUR YEARS, AND
YOUR GRIEF IS AS

STRONG AG EVER..,

IN RETROSPECT,,, / SHOULD HAVE KNOWN THE/R
FREQUENT TALKS WERE MORE THAN JUST STANDARD
“MOTHER-AND-DAUGHTER“

O# G-GOP--
THAT B-BIRDL

NO MORE
OF THS..,
NO MoRE--
DEATH...

(eT
WHAT ARE
you (eT

SO DISTRACTED
SHE DIDN‘T
REALIZE THAT

SHE wae
RECONSTRUCTING
THE BIRD.

A GENE
SHE HAD RECE|VED
FROM HER MOTHER

WITHOUT MY KNOWING --

DESTINED To DIE IN THE CLOISTER
OF THE CELESTIAL HOST --

THINGS (FINALLY) GET
INTEN TIONAL WHEN...

“INTERNAL

STANOS AMONGST US?

EDITED AND RIAN MURPHY & | (LLUSTRATED By LETTERED By BASED ON THE WORK oF
WRITTEN BY GENE BOOTH DR. GOLDBLATT DAN OSBORN TACK 'KING’ KIRBY

S|] i p
a

Ns <I QT Keo ERTS Way ee Y

SERGE CLERC

AND HIS CASTLES IN THE SKY

By Jean-Emmanuel Deluxe

Une
Meat
ueaie |

esse rag

Serge Clerc is a master of the post-modern ligne claire (clear
line) ; his work has roots in Belgian and French comics of the
5Qs and 60s, electrified with a touch of rock n’ roll. At the
beginning of his career, Serge Clerc was very much influenced
by Moebius, Vaughn Bodé and various underground
cartoonists. Then, through the years, his style evolved towards
more elegant and refined lines. Clerc was 17 when he moved
from his provincial town to Paris, invited by Jean-Pierre
Dionnet, a publisher who was very important in the young
artist’s formative years. Dionnet was (and still his) particularly
skilled at discovering new talents and endlessly promoting
previously neglected parts of popular culture. In 1974 Dionnet,
his friend Bernard Farkas, Moebius, and cartoonist Philippe
Druillet founded Métal Hurlant (later to be published in the
States under the moniker Heavy Metal). Métal Hurlant/Heavy
Metal featured legendary artists like Gray Morrow, rising stars
like Richard Corben, and new talent like Clerc, and was very
important for a whole generation of readers. In the USA,
people like Daniel Clowes (Eightball) and Mort Todd (the guy
behind the Back for the Grave covers) were traumatised in a
positive way by Serge Clerc’s work. Without Heavy Metal's
creation, b-movies, pulp fictions, film noir, science fiction and
various exciting cultural artifacts would have stayed in the
dump in France. Serge Clerc is very much linked to various
cultish sub-cultures. Mr. Clere loves 30s to 50s New Yorker-
like illustrations, EC Comics, rock n’ roll iconography and
vintage sci- fi.

Clere worked for Rock & Folk (French leading rock magazine)
and New Musical Express magazine, he designed Joe Jackson’s
Big World and the Fleshtones’ Speed Connection record
covers, among others. After being in the limelight in the 80s,
Serge Clerc gradually disappeared from the comics world,
whilst his inheritor Dan Clowes was getting deserved
recognition. Serge Clerc was all about seedy nightclubs,
femme fatales such as Vanina Vanille, and lovable losers like
his Sam Bronx. In the world of Serge Clere things are very
classy and the humor is subtle. Even the winos have got some
poetry and show some talent for dandyism! After some years,
the comics publishing business and fans alike began to wonder
whatever had happened to Serge Clerc. He was simply
working in the illustration and in the advertising field, and
cooking his own graphic novel memoirs, Le Journal,about his
first years with Métal Hurlant. Some autobiographical comics
are quite pretentious, full of self-indulgent material, but not
this one. Even if you have never heard of Serge Clerc or Métal
Hurlant before, you will nonetheless dig his Journal. The
author, who used to be called the spy cartoonist, knows how to
move the reader with his own universal formative story in a
madcap and talented publishing house.

Being influenced by an American pop culture as only a
European can see it, the world of Serge Clerc deserves a
publication in the US. Companies like Fantagraphics or Drawn
& Quaterly would be perfect. Serge Clerc, to quote what
French writer Céline once said, has several castles in the sky :
this mild-mannered fast talker of a man can’t be stopped as he
starts showing you his projects. The true fan that I am was on
Cloud Nine.

JED : How was the Journal born ?

Serge Clerc : I started thinking about it in 1994 and set to work
in 2004. The first notes came as real flashes of lightning. I had
plenty of material for other stuff, being quite creative at that
time. Though it took me a while to start work properly, this
project appeared as a kind of great mystery to me, since
nobody gave me any advice for it, and things were done as if
dictated to me !

TALES FROM THE

This is your first full-length book, which is great!
You wouldn’t treat such a topic in 44 pages, would you ? The
Life of Hergé by José Louis Bocquet & Jean-Luc Fromental
was a mere 60 pages-long, but it’s because they are lazy chaps,
and I worked like the devil (/aughs)!

Japanese cartoonists don’t even do that sort of thing
anymore !

It’s a cultural fact, I was trained in a totally different way when
I started with Metal at 17! I’m truly fascinated with Japanese
people, as I don’t understand them at all! I wish someone
would explain their sexual perversions, for example. A survey
about different countries according to sexual leanings would be
interesting...

I read a book on the weirdest sexual deviances, things so
strange that they end up being non sexual, such as cream
tart fetishists.

Well, that is sexual, innit ? (Metal Hurlant writer)Fromental
once mentioned to me those Japanese ladies who make
themselves throw up. In my comic strips, there are a lot of
people who throw up, I don’t know why, but that’s not meant
to be sexual at all...

Two years ago, a book was released about the Metal years,
and it sounded like a vicious settling of scores, which is not
the case with your own book.

I wanted to create heroes, including myself as a self-caricature.
I followed the course of events, but manipulating real
characters. Manceuvre for instance has been harshly criticized
in the book you mentioned, not in mine. I really like his arrival
in the story, with sardonic laughter and animal-like shouting,
with the caption : focus on the unfolding of lexical field, on the
newness of looming up , which | think is amusing. I like the
mixing of pseudo-philosophical leanings and total nonsense. I
had 400 pages in mind at first, which I had to shorten up a bit!
As splash pages enabled me to have many landmarks, it would

have been easier for me to have access to an even longer
format, but that’s the way itis ...

Graphically speaking, it is more nervous than ever.

Due to release shortcomings, I had to bootleg myself, in a way,
redrawing and rewriting things from the past. Emotions and
feelings were stressed by quotes from real strips, such as
Mickey Mouse ice-skating to illustrate bliss, for instance. I
took the idea from Dream On, which was doing that in 1995, I
used the cartoons codes as a mise en abyme thing.

I really like allusions such as your arrival in Paris in a
horse-drawn carriage.

One easily senses that things didn’t happen this way. I did it on
the spot. Most of the narrative is chronological: it starts with
the creation of a magazine, my own perception of it, then the
first problems arising as time goes by. I tried to be true to
reality, even though I invented things, and I guess people will
easily understand that there was no voodoo priest involved at
all! Maybe readers think I’m a complete wino when they read
the book, which of course I’m not !

It sounds a bit cliché to say so, but what you’ve achieved is
a real education novel.

Yes, it’s the training years of a young cartoonist who decides
not to take high school final exams to be hired by his favorite
mag, which may collapse at any time due to financial reasons,
and who never realizes it !

It’s also aimed at presenting a landscape of the eighties.
Such a mag as Metal was would be totally impossible to do
today.

Yes, the market seems to be only album-orientated nowadays.
Too bad there’s no such thing as American formats, | mean
comics, in France. Standard format comics like Dan Clowes’
Eightball ,1 have been buying them since issue number one; it
allows you to have your first strips being published as you're
in the working process, whereas in France you have to wait for
4 years before your work is finally published in a book. In
Europe, there are a great deal of mega-talented people, be it in
Italy, France, Belgium or Spain. There’s a kind of politique des
auteurs (authors’ policy) as Truffaut had it, which we have
inherited, the notion of copyright has been so protective of us
since Beaumarchais. Americans have a different approach, and
this is what I like about this new wave of authors: you can
have people working in European fashion, and all this super
heroes stuff, which I don’t despise at all.

What do you think of Alan Moore, who refuses to work
with major comics companies and is adamant not to accept
any adaptations of his work for the movies ? This guy is so
talented, and is living proof you can have genius-like
comics writers.

You're right. As regards contemporary comic strips, I like the
Isaac the Pirate and the Rabbi's Cat series. But I must say |
don’t buy albums anymore, so as not to be buried alive under
cartoons! I like Blutch, De Crécy. For a while, I didn’t know
what was happening at all, being involved in advertising and
illustrating stuff. I remember spending a couple of weeks in
Moscow before the fall of the Berlin Wall, as I wanted to doa
Phil Perfect adventure there. When I came back, the publishing
decisions of the magazine had changed: they now wanted to
have 6-page long stories, supposed to be modern and trendy,
and I was on a 60-page one. I had signed a deal with a writer
which was no longer valid, and I felt trapped in a mag which
no longer corresponded to what I had in mind. I had had some
advance money for this script which Metal asked me to refund
after a two-year silence from them, plus a fine ! No-one had
taken the pain to call me about that, so that was it for me. I had
no choice but to carry on with the advertising business, so as to
finance my cartoon projects (this is what Chaland intended to

do as well — we were thinking of giving up the traditional 44-
page format for longer things) .Mémoires de l’Espion (
Memoirs of a spy) was already a graphic novel as it is today the
norm, I was foreseeing things (smile). I love that category, as it
wipes away the cliché of cartoonists as true idiots. Although
some of them are ...

What about cartoons on TV ?

There’s no good programme about our art on French TV,
unfortunately. Back in the 80s, we were real stars, | thought it
would carry on endlessly, but no. The people who used to read
Metal now buy original strips, and quoted values rise up, as
happened with Hergé’s work. I knew from the beginning that
some cartoonists are pure geniuses and that it was bound to
happen. The emotional shocks that we experience as children
come to the surface as we become adults, like Proustian
madeleines. As for me, it was Akim, Blek le Rock, Zembla,
which I discovered in a mouldy trunk in an attic. The second
shock was Tintin au Pays de |’Or Noir, and I knew straight
away (I was seven) that I wanted to become a cartoonist.

The very word has been largely hackneyed, but one must
say Metal was a rock magazine, wasn’t it?

We were close relatives with Rock & Folk! Manceuvre came
to work with us, and very soon asked me for some rock pages.
Metal was a bona fide sci-fi magazine at the start, with people
like Druillet, Moebius, Tardi or Mandryka. Then, when punk-
rock appeared in ‘76, it moved on to many different things. At
that time, I was doing a strip called Rock City, with
illustrations of songs, autographs by the singer(s) and tape
covers.It was like a journalist’s work in just two pages. The
first one I did was about a hippy being beaten up by punks !
Dionnet was very formative, wasn’t he ?

He literally fed me with his culture, saying you must read this
or that. It’s ridiculous how many incredible treasures you can
find in his collection. I discovered John le Carré, John Fante,

Bukowski thanks to him. There were columnists such as

Philippe Garnier working for Metal, that helped me build up
some sort of knowledge too! It was like the quest for the Holy
Grail, all these things to discover, Philip K. Dick, for instance.
The Rose Bonbon (the mythical club in which Taxi Girl,
among others, started their career) had its importance as well.
Metal was more important and swing than anything else; it led
to Canal + TV Channel in 84, via Les Enfants du Rock music
programme: its humor had penetrated TV, with a very special
kind of spirit indeed — and then soccer took over the
programmes, alas ...

Serge Clerc’s Journal is out now...in French,
and hard to find in the U.S. (but most certainly
worth the effort)

You will also have a hard time tracking down
Jean-Emmanuel Deluxe’s book Bubblegum &
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and the Pink Floyd) and Mondo Hollywood
(with Zappa and Reagan) on the Martyrs of Pop
imprint (www.martyrsofpop.com).

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types of things he wrote and then you look at the artists and that
pretty well spells the story out. Jack and Billy were great friends.
Who was in the lineup of the Little Green Men at that time?
Well, of course Riley, J. M., and Pat O'Neill. Roland Janes did a
lot of studio work, he didn't want to leave Memphis but he did
some short trips with us and he played guitar. Sometimes he
played bass - he could double on either one. Very creative guy
too. He had a style down and when you listened to him playing
on record and you heard that Fender guitar, you could recognize
that style immediately. Roland was a delight to work with. He
was a funny guy, had the driest humor you ever heard your life.
He could say something funny and it would take a minute for you
to catch it, but he was another one of those guys we just loved to
travel and work with because he was pleasant to be around,
worked very hard, and would do anything in the world to make
the sound better. So, I've nothing but high praise for Roland
Janes.

During your days at Sun, you wrote the arrangements for the
Little Green Men. Was it difficult for you to work with all
these guys who played by ear?

No, and I'll tell you why. It wasn’t difficult because I knew their
limitations. If something was difficult or highly technical, I’d
play it. Otherwise, I would keep things playable. If I was the only
one who could play it, then it wasn’t worth anything. So, you just
had to keep in mind that these guys were not schooled musicians.
I was the only schooled musician of the bunch. But, on the other
hand, they could do a bunch of things that I couldn’t do. So, there
was a trade off.

Marvin Pepper, Billy Lee Riley, Martin Willis, & JM Van Eaton

Billy Lee Riley & The Little Green Men 1959

Not Pictured: Roland Janes:

Weren’t they playing in odd keys for a sax player like “E”
and “A?”
(Laughs) At one time I think I was the only sax player in our
circle between Nashville and Memphis who could play in “E,”
“A.” and “D,” and that’s because I had to. We tried tuning the
guitar down and then the singer couldn’t sing it. When I did my
first show in Nashville with Billy, he brought in a piano player,
and he could only play in “E,” “A,” and “D.” I said, “Well, that
pretty well cinches it. There won’t be any E-flats or D-flats
around here.”
“E” is a hard key to play piano in.
Well, for a saxophone, it really is. If you’re in the key of “E”
you’re playing in “F#,” you’re into six sharps. Then the key of
“B” is five sharps. Did I ever tell you the story of what I did to a
sax player in Chicago?
No, what did you do?

MW: I worked with a show group up there and we were getting
on our last set and getting ready to quit when in walks this guy
out of the rain. He has a raincoat on and a saxophone under his
raincoat. No case, nuthin’. He’s going to get up there and show
us how to do it. So, I told the band, “Our last number, we’re
going to do blues, and we’re going to do it in the key of ‘B.’ Not
B-flat. ‘B.’” So the guy with the raincoat, he kept trying to play.
He couldn’t get his horn in tune. When we left the nightclub that
night, he was still in the back of the club playing and trying to
figure out what was wrong with his horn. He said, “Nobody
plays in the key of *B.’ It must be my horn.”

KB: So he was saying, “Damn, I’m a half tone off!”

MW: That’s right! And he never could get his horn in tune. So,
he probably took his horn to the shop the next day to see what
was wrong with it. We laughed all the way down the street over
him trying to play in the key of “B.”

Did you have a lot guys who wanted to hop up on stage with
you like that?

Oh, not really. The only problems we had was when we played
those dives on the highways over in Arkansas where they put
chicken wire up in front of you. We didn’t know what the
chicken wire was for until one of those fights started and
everybody started throwing bottles. That’s why the chicken wire
was in front off us - to keep us from getting hit by those bottles.
There were some rough places we played.

We read about gigs like that and wonder, why did you take
the gig? Did you need it that bad or was the money actually
pretty good?

No, there wasn’t any money involved in those days. It was just a
way to keep the band together and keep us living.

Sort of like actively pursuing your career through live
rehearsal?

Yeah, that’s about it. It really and truly is. More experience. It
keeps the band together, and gives us something to do that will
keep us together so when we get a chance to go back to the
studio and record, we’re up on it. Because a layoff is one of the
worst things that can happen to you.

Because you stop recognizing each others signals and it’s
harder to play in

That's right. A lay-off is not a good thing. In those days, a buck
was a buck. We didn’t care what it was. I’ve played Ringling
Brother Barnum & Bailey too. It paid well, but it was hard work.
Billy Lee Riley started out in the country in gospel genre,
didn't he?

MW: That's what I understand. But, when I joined him, he was
strictly into the rock era. He didn't do much country, except to
make fun of it. As far as I'm concerned, he was the original -
they call rockabilly because we took the hillbilly tune and put
drums and horns with them and came to with rockabilly sound.
It was created there by necessity. In fact, for the clubs you
played you had to have a horn and had to have drums. You'd do
certain things in the studio without those instruments, but
couldn't do it live.

You traveled a bit with Sonny Burgess, did you meet him
when he played bass with Conway Twitty?

No, in fact I was with Conway when I met him. We used stop at
the Silver Moon in Truman, Arkansas [A major casino/nightclub
- KB.] and watch his group play after hours. We always used to
stop in there and catches banning got to be good friends with
Sonny. But yes, because my background was more of being a
schooled musician, because I worked with the big bands in

Memphis, that seemed to give us an edge when we played these
clubs. So, would play these things like “Harlem Nocturne” and
lot of things that these other bands couldn't. They didn't have
that type of training.

Did you have any formal band associations before you joined
the Little Green Men?

Yes, I worked with some little bands while I was in high school.
I wasn’t supposed to be doing it, but I was. I just tried be as
sophisticated and mature as I could for a 15 or 16 year-old kid.
We had bands of I worked with and we would always work on
the weekends. We would go out of town and play a date at a
club or show. That's how I met Conway Twitty, I was working
for a company called Aunt Jemima Flour, a Quaker Oats
Complany, during the daytime we would play street shows,
which set up a tent and sell flour. I've got pictures of me
standing on a street corner and playing with Riley and Roland.
We'd make a buck anyway we could and that was one way we
could do it. That's how I started with Conway playing grocery
stores for Aunt Jemima.

Let me get this straight. You would set up outside a
supermarket, put up a banner for Aunt Jemima flour, and
someone would actually sell sacks of flour while you played
music?

Yeah! The salesman that would hire us would be there to do the
promotion and we would do the music. I don't know how
successful this was for the Quaker Oats people but we got paid,
and they seemed to like it. We did it for a couple of years.

I've never heard that story before and I've talked to Billy Lee
Riley several times.

(Laughs) Well, he'd probably like to forget it. I've got a picture
showing him standing outside playing guitar with his bow tie on
and a Quaker Oats sign behind him. I kept these pictures all
these years and they're irreplaceable.

Well, Billy Lee Riley was so good looking and so talented, it's
clear to me he could've been a star. However, I don't know if
he would've made it on another label other than Sun, because
most other labels didn't allow a singer to bring his own band
in to record.

That's true. The only exception to that rule that would be
something like Bill Black Combo. We had our recording group
and we had our road groups. The road group would go out and
do all the road trips and we did the records.

You were also attending college at this time, weren’t you?
Yes, I was a music major at Memphis State and I studied
orchestration.

So you were attending college while you were recording at
Sun Records and playing on the road with Conway Twitty,
the Little Green Men, and later the Bill Black Combo?

Yes!

Where'd you get the energy?

(Laughs) | didn't. It burned me out real quick. When I got up I
couldn't figure out which clothes to put on because I didn't know
if I was going to school or going to work. I’d have to lay
everything out beforehand.

Did that type of eclectic schedule affect your studies?

Not too bad. I had a 3.5, but it did just kill me, just burn me out.
What was the game plan? That you're going to stay in music
and get your chops finely honed in college or were you just
playing the music until something better came along?

The idea was to get that magic recording and build off one
recording to another. I knew from the guys in Nashville that

there were guys with not a super degree of talent that did have
three things going for them - luck, talent, and creativeness. They
would come up with things musically that were really nothing
but they were hit records. So we'd say, "If those guys can do it,
why can't we?"

What was the highlight of your session work at Sun Records?
I guess one of the favorite sessions I remember was working with
Charlie Rich. Charlie would play with us in nightclubs too and
he was so easy to work with and so talented. This guy could play
anything and when I say anything I leave that statement
unqualified. He was super and he was very creative. I guess the
most fun I ever had was when I cut a baritone sax solo on
"Lonely Weekends."

That's you? I didn't know that. The Sun Sessions files didn't
list that.

I know, there's a lot of things they didn’t list. But the idea was
really Charlie's, I have to give him credit for that. Because
Charlie said, "If you can get a baritone sax of that we could do
something different with this." So, I borrowed a baritone sax and
brought to the studio and we sat down in the corner and he
started humming, "Could you play something along these lines?"
I said, "Sure, kick it off." So, he kicked off the tune, and I didn't
even have a microphone. Sam Phillips didn't like saxophones
and he wouldn't give me a microphone. So J. M. would have to
take his foot off of his bass pedals and let me play through his
bass pedals mike when I played the solo. You can hear when he
turns the mike up and you can hear when he turns the mike
down. (Laughs) Sam hated saxophone.

What was Sam like? Did you get a chance to deal with him
much or did you mainly work with Jack Clement?

Probably 70% Jack and 30% Sam. It depended on what Sam had
going on that day, sometimes other artists would come and listen
to us play our music. Elvis used to come to our rehearsals, he
loved to listen to the music. He was very musically interested.
The last one I remember Elvis coming to was when we were at a
golf club rehearsing. In fact, his bodyguard Red West was
playing cornet sitting right next to me. Elvis would come in and
he would sit over by the bar, he didn't drink of course, and he
listened to our music. He'd see us all the time he'd sneak in the
back so wouldn't bother anybody. He was very quiet and very
nice guy. You couldn't ask for a nicer mannered guy .

Well, I've got to ask. As a coronet player, how were Red
West's chops?

(Laughs) He made a good bodyguard. As far as personality goes,
he was super nice guy. We got along famously and he was a
very pleasant person work with. He wasn't pushy or anything. If
you talk to him, ask if he remembers playing coronet with
Dixielanders.

J. M. Van Eaton told me that you guys had one great show
band. Tell about what life on the road was like the Little
Green Men and what your show was like.

One, we worked so well together and we’d do some gymnastics.
Pat would lay his bass down and somebody else would jump up
on top of it. You've seen some groups like Bill Haley and the
Comets or Freddie Bell and the Bellboys, the Treniers - groups
like that during the 'S0s. We play our music, and we played well,
and we could still do choreography and things of that nature. In
fact, J. M. he had perfected a stance where he would get up and
played drums while doing choreography with us. He'd stay
behind is drums, but he would sway with the band and do our
motion they did. He's one of the few people I've ever seen who

stood up to play drums.

Were there certain routines your band specialized in that
incited the crowds of little more than others?

Usually, it depended on what Riley would do. He sort of took
the lead on everything. If he wanted to get on one knee with his
guitar or whatever, we'd follow him. (Laughs) I remember one
time, he did it and then I did it. We were in some big auditorium
down the Mississippi, and got down on one knee was playing a
way and that I did it. Then, I couldn't get up. Riley looked at
me, and I could not get up. My leg froze. So I had to roll over
sideways and get up that way, You know when you're playing
on stage sometimes, you get real tense. Well, I had gotten a
muscle cramp. Once I rolled over and put my weight on it I
could get up. I'll never forget that and I never did it again either.
Did the Little Green Men wear those pool table felt green
suits for very long?

They got the pool table felt green suits just before I joined them.
I was with Conway at that time. When I joined them, we got
different uniforms. We had green coats and different outfits,
redcoats, whatever. We were very colorful. Contrary to what
you see now, we liked to dress nice on stagé. But they had
dropped to the pool table suits and had gone for the nice jackets
when I came with them. I never had to wear the pool table felt
green suit.

I take it the Jerry Lee Lewis was no longer pumping the
piano for Little Green Men?

No, that's when we picked up Jimmy Wilson.

Did Smoochy Smith gig much with Little Green Men?

That again happened before I went with Billy. I understand that
he did play with him for short time. I knew Smoochy, he worked
a lot of the clubs around Memphis. In fact I worked a lot of dates
with him. He was just a kid.

I'm amazed that so many teenagers got an opportunity in the
music business then.

Remember now, the music scene itself was in a transformation
mode. It was coming out of the big band and sophisticated music
era and then a guy named Elvis Presley stepped up on the stage
and it was over with from that point on. All the guys who had a
guitar came running to Memphis. (Laughs) It was like somebody
blew a whistle and everybody ran to it at one time. The music
itself changed so much that it allowed people who didn't have
any education or training or experience to become successful in a
very short amount of time.

What can you tell me about pianist Jimmy Wilson?

He was an "unusual" person. Very talented. He could play
anything on the piano. He was one of the first piano players I
worked with who could play in guitar keys. I was probably the
first sax player who could play in the keys of A, D, and E. He
was probably the first piano player who could play in the same
keys. He was very talented. I really enjoyed working with him.
I've got some good pictures of him on stage and everything.
Now, he was also a peculiar person. I say peculiar, not that there
was anything nutty about him, but he would do some strange
things. I know whether it was because he was an eccentric type
person or what ever. For instance, we were working a club in
Memphis called the Starlight Club and he got a motorcycle.
Now this motorcycle did not have fenders on it. So he put on his
pretty green jacket, his tanned pants, his nice uniform and
everything, get on his motorcycle and go to work. Well, if it had
been raining that day, the bike with sling mud up his back. So,
we got off his motorcycle and came into the club, he had this

strip of mud straight up his back. He didn't even know it and
walk around the club with everybody looking at him. (Laughs)
s i

(L-R: Willis, Pat O’ Neil, Riley, Jimmy Wilson, Van Eaton 1958)
Did you guys get a kick out of him or were you mostly just
shaking your head?

I thought he was as funny as all get out. I still laugh about some
of those things. For instance, I don't know if Riley or anybody
else told you this. We were getting ready to pick him up in front
of Sun Records, he lived in little room above there. We were all
in Riley's car getting ready to take a trip and we pulled up right at
that intersection in front of Sun Records and here comes Jimmy
(laughs) he had all his belongings and everything in a paper sack.
Well, that paper sack broke right in the middle of traffic. Stuff
was pouring out all over the place and Wilson was out there on
his hands and knees picking up his stuff. Riley turned to him and
said, "Did you break your Puerto Rican Samsonite there, Wil?"
We would laugh for a hundred miles after something like that.
This is the type of fun we would have when we traveled. This is
why I thought Wilson was one of the funniest guys I ever saw in
my life.

Was he doing it on purpose to amuse the band?

I think it was just his personality. That's tie type of person he
was, But, he's the kind of person that you would never know.
He could be so serious and you would never know if he was
putting you on or not. He was really a funny guy. I never had
any problems with Wilson. I've heard some things from other
people and he may have done some strange things. But I never
did have any problem with him. We got along famously. I wish I
could play with him again, the guy was a great musician.

What was Jimmy like on stage?

On stage, whatever the band was playing, he played his very best
to complement it. Especially on my saxophone solos, he would
really complement everything that I would do. He was very in
tune with what ever the theme of the music was. He seemed to
be born with that type of talent and he did it all quite naturally.
Funny thing about Jimmy was, he was very personable. People
loved him. Yes, he did some peculiar to things from time to
time, but as far as people getting along with them, as far as I
know, everybody liked him.

Did you ever have any problems playing behind Jerry Lee
Lewis at Sun?

To be honest with you, I never had any problems with Jerry. I
did sessions with and he never bothered me. I'd sit back in the
corner into my thing. He'd have his words with Sam and with
Jack maybe or when Judd would come in, but as far as musicians
go I don't remember him ever having any problems with the
musicians. The only one he ever had words with was whoever
was in the control room. The last session I remember playing
with Jerry was "I'll Sail My Ship Alone," I remember that one .
Were you surprised the Jerry Lee would choose an old Moon
Mullican song at the height of his Rock'n'Roll days?

During those days, nothing surprised me. It all depended on
what mood Sam was in. If he had this idea that, "This is going to
be a big hit and you've got to do this tune that way," that's the
way we would do it. Basically, that's what we would do with
Bill Black. Joe Coughi would come in with an old standard from
the '40s and say, "We're going to make a hit out of this." And we
would make a hit out of it.

Was that because, with a few exceptions, most of the Sun
artists weren't great writers but were great interpreters?
Yeah. I guess that's an excellent way to put it.

What was the pay like for a session at Sun?

I was afraid you were going ask chat.

Billy Lee Riley, JM VanEaton, Martin Willis, Jimmie Ray Paulman, Pat O'Neil
on stage at the Brass Rail, London, Ontario, Canada 1957

Billy told me that you were all supposed to be getting union
scale. But, Sam couldn't afford to pay that, so you would get
these union checks, sign them over to Sam and then Sam
would pay $2 an hour. On the other hand, Jack Clement
says that he instituted a $2 an hour policy and that you guys
all liked it.
All I can say about that is, I'm looking at some of my old books
which I keep in a little satchel case. That's where I record
everything that happened that day, where I played and how much
money I made. I see an entry in there for a Sun Records session:
$8.50. It doesn't say which session. But, it must be accurate
because everything I did is in that little book. So, that day I
earned $8.50.
Were you married at the time?
Yes. That's one of the reasons why I finally gave it up.
How long did you do session work at Sun Records and how
did that eventually blend into you becoming a part of the Bill
Black Combo?
I guess I was still doing sessions down there up till about 1965 or
66. I was working at the other studios around town too. I was
doing a lot of work at Hi. In fact, Charlie did some sessions with
me at Hi, that's where the Bill Black Combo was formed. We
put that together in 1959 and 1961 we were the most played

instrumental group.

Were you doing some things over at Fernwood Records?

Yes, that was a garage. It was garage, turned into a workshop,
turn into a studio.

Did you get a chance to work with Scotty Moore and Bill
Black? /After Elvis Presley left for the Army, Moore became a
vice-president of Fernwood. The roots of the Bill Black Combo
began there.]

Yes. We had a quartet that worked clubs around Memphis after
they had left Elvis. The last club I remember us playing together
was the old Starlight club out there in Memphis.

What type of music did you do?

Just a little bit of everything. Mostly dance music.

Was it mostly instrumental?

I believe we had different singers who would come and work
with the group.

Can you remember who any of them were?

One of them might have been Gene Simmons. /Not the KISS
bassist, Simmons, who began his career at Sun, scored a 1964 hit
with “Haunted House.” - KB.] It's a long time ago now, a lot of
guys come and go through the door. I've got a mental picture of
us sitting there on stage and I'm trying to figure out who might of
been the singer. There were a couple other guys that never did
become big names but they were good singers, local guys, I can't
remember their names but there were several.

I love this obscure stuff. I suppose you have to answer
questions like this all the time?

No, to be very honest with you, I don't. I don't know if J.M. told
you or not but they thought I was dead for about 30 years.
Nobody heard from me and of course I went into the hotel
business and moved from city to city every five or six years.
Nobody ever talked to me or called me or anything like that until
one day I was sitting in my office in Macon, Ga. and I got a
phone call and the guy asks," Are you Martin Willis?" "Yeah,
sometimes." I didn't know if it was some prankster or something
calling. He said, "Did you ever work at Sun Records?" "Well, as
a matter of fact, I did." He said, "This is Billy Riley." (Laughs) I
don't know how he found me. Of course, as soon as word got
back to the Sun Records and Roland and everybody, I started
getting phone calls like crazy. They all thought I was dead all
those years. I was just in a different industry and our paths didn't
cross. Even Ace Cannon called one day and said, "I thought you
was dead!" (Laughs) I guess the best one was, as a story about J.
M., J. M. didn't know some of the stuff that I was doing. I had a
nickname, I don't know if Riley told with the nickname was, but
it was Maude - my original nickname when I was with Conway
was Willie, they called me Willie Maude. That was like my code
name. Billy hadn't told J. M. about me at that point. So then I
started writing J. M. letters, from Willie Maude and I had friends
of mine mail them to him from all over the world. England,
Spain, up north, you name it and they'd mail a letter to him. I'd
write: "This is William Maude and I used to go to your rehearsals
and ‘see you and the other guys J. M. and I loved your playing." J.
M. denies this but I guarantee you there's a bunch of guys at Sun
Records who will verify this. We had this thing going for almost
four or five months. So, he went to a session at Phillips studios
and he was talking to Riley - see, they were all in on it Riley,
Roland, everybody was in on it except J. M- so Riley asked him,
"You ever hear from this guy named Willie Maude who used
come to our sessions?" J. M. says, "Yeah, I've got a letter from
him. He was a tall guy who used to come to the sessions. " He

thought I was for real.

He didn't match that up with you being Martin Willis?

No, because I didn't give him any clues. Then one day I called
J.M. and said," J. M., I'm Maude. " So we had a reunion meeting
at the Café up there next to Sun one day, I guess that was about
three years ago. He walked in, this is a true story, and I didn't
recognize him and he didn't recognize me. So Riley came in the
door and sees me, waves at me, and J.M. turn around looked at
me and couldn't believe it. He said, "Maude?" "You got it?" He
almost fell out, he couldn't believe he was sitting there looking at
me all this time and didn't have any idea who I was.

You were talking about playing with Scotty, DJ, and Bill.
How did that come about? Who contacted you?

Probably Bill. Because I had done some session work with Bill.
I think I also did some Session work with Scotty down at Hi
records. When you play with these guys, they see play, and if
they have a gig coming up they'll give you call.

Is that when the group was called the Scotty Moore Trio?
You know what? I don't remember. It could live very well have
been the Scotty Moore trio. I didn't do the Hayride with them. I
only worked with them in Memphis. At that time I had other
commitments with the other studios.

Is that where Bill Black got the idea for the Combo?

It could well have been. Because I worked with Bill on a lot of
different occasions back then. He worked at an appliance store
during the daytime and he would work with us at night. We were
always kidding Black because he had a super sense of humor.
We'd say, "Now this is not a refrigerator Bill, this is a bass. You
can.carry this one. " He had an old car, and he was such a funny
guy, he had this old broken-down car and the band always made
fun of him. He didn't care, let them make fun of, but he always
got the last laugh because he got all money.

What else can you tell me about the late Bill Black?

OK, well one - he had a low pressure approach to guiding a band.
He almost left the band do whatever they thought was necessary,
but when it came time to make a decision he did that without any
equivocation. I was his roommate on the road and I guess I
probably knew him as well as anybody. I heard a lot of stories,
some of them I will repeat, some of them I will not repeat about
his days with Elvis. But he was very gentle about things like
that. He was not a rumeo monger and didn't tell off color stories.
He'd tell funny things. He'd tell me a lot of funny stories that I
tell today and people just don't believe. But they were funny
things, things were meant to laugh about, and not meant to hurt
anybody's reputation. As far as a person is concerned, you
couldn't ask for better human being. He was just like a typical
down-to-earth guy from Tennessee. He had to deal with a lot of
high pressure guys in New York, but he had a way of doing it.
He had that experience and was always ready to jump in there
and play. I don't care if he had to rehearse the tune 50 times, he'd
jump in there and rehearsed the tune 50 times too. He was just a
top-notch person, top-notch.

There exists the perception that Bill Black and Elvis Presley
did not get along. Did Bill ever say anything to you that
would have bearing on that?

No, from the things that we talked about, most of the
implications were was the Tom Parker issue. He told me, for
example, that he and Scotty used to sell pictures at the halfway
break in the show. That's how they made their extra money and
he said that Tom Parker took that away from them and kept it for
himself. That was an example of some of the problems that they

had with Tom Parker. Not knowing Tom Parker I couldn't say
yea or nay, I'm just thinking of some of the things that Bill told
me. He used to talk about a lot of things that they did on the road.
Of course they traveled together in a car, so they had to get along
famously. Those guys traveled together, slept together, and
worked together. He'd tell us things that happen on a road and
what have you. But he never talked anything bad about Elvis at
all. It's almost like Elvis was just along for the ride. But he did
mention that they didn't like working for Tom Parker.
WINNER OF
MOST PLAYED INSTRUMENTAL GROUP OF 1962 AWARD
For the third consecutive year

Presented by
BILLBOARD MUSIC WEEK

wo
a

e
RECIPIENT OF
GOLB RECORD OF “WHITE SILVER SANDS”
For his record which sold
mare than one million copics
ft PRESENTED BY HI RECORDS
MEMPHIS, TENN. 5

DISTRIBUTED BY

LONDON RECORDS, INC.
NEW YORK CITY

BILL BLACK'S COMBO

Reggie Young Hank Hankins
Jerry Arnold :
Carl McVoy Martin Willis

Do
you suppose that's why Bill left Elvis Presley organization,
Tom Parker?

This is opinion only. I think that probably had a lot to do with it.
Of course, he had a family too and he was traveling an awful lot.
So, and that may have weighed on it too. when we were with the
Combo, he could decide when he wanted to go out of town and
how long he stayed and when to come back. He couldn't do that
with Elvis.

Was Bill Black's finest attribute his ability to lighten things
up?

Oh yeah. A quick example of that from Bill. We were coming in
from a tour one day and we stopped in West Memphis, Arkansas
to gas up at one of these little truck stops. This is the guy who
had 5 million-selling records in a row and we stopped and the
truck stop's section where the goods and everything are and he
goes over to a shirt rack and starts taking shirts off of it. (Laughs)
I think it was [guitarist] Hank Hankins who turned around and
said, "Here's a guy who's making $100,000 a year and he buys
his shirts in a truck stop." That broke us up for the rest of the

tour. That's the way they'd throw things at each other and go and
we'd joke about it. That's what kept us from going nuts.

Is having somebody who's funny or able to elicit humor or be
the butt of jokes absolutely essential to a touring band?
Absolutely. With that being absent you found trouble. Pick a
band and check it out. Some of them start out that way and then
drugs enter the picture, once that happens then it is all over with.
We didn't do drugs and stuff like that. I don't think I saw a
marijuana cigarette until I was 35-years-old. We didn't do things
like that, it never crossed our minds.

What was Bill like to work with in the studio?

That's another fun session. The only problem with the Sun
sessions is that we didn't have the technological advances that we
have today with the 24, 32, and 64 track machines. In most
cases, we had two track Ampex machines. At Hi Records we did
have a little concrete room with the door on it that we called the
echo chamber - we thought that was technology. (Laughs) I can
remember when Bill Justis would come down and direct some of
the sessions with us, I can remember doing take 63. We would
play these takes so many times that my jaws would give out and I
couldn't play. Doing 30 or 40 cuts on one tune was nothing.
Imagine playing the same solo 30 times. Black used to make fun
of me and then I started laughing and I couldn't play and then
would break up again. That was one of the biggest problems that
we had was that we had to do those takes over and over again.
Nowadays, they do one, maybe two or three, and then you are
done.

Because you're building tracks?

Right. We’d do 50 takes. One thing we did do technology wise,
and I don't think a lot of people know this, but the reason that our
records sounded so great on the radio is because - I don't know if
it was Joe Coughi's idea or not - but they would plug the
playback and to a little tiny, portable transistor radio. The kind
that you carry with you? They'd tap into that and play the tune
over that little radio and see what it sounded like. If it sounded
good on that, that was the take they would use. I thought it was a
tremendous idea. If it didn't sound right, they'd take it again until
it sounded like it should on that radio, because that's what people
were listening to at that time. That's why the sound was so
successful.

Did Bob Tucker from the Tarantulas /another Fernwood
group] help create the Bill Black Combo sound? {Tucker later
took over the Combo]

No, the sound was ours. We created it there in the studio. Black
hired Bobby. Like I told you, with like to travel because we
traveled too much. So, we wanted just to do the records and let
other groups go out and do the touring. So, he hired Bobby to
take some road groups out on the road. Tucker took them out
around the country as the Bill Black Combo. They did very well
and they played a lot of different places and at one point I think
Bill had three different groups out.

A lot of people must’ve known Bill Black from his days with
Elvis Presley. When he sent out the substitute groups, didn't
he think anyone would care that he wasn't there?

Well, remember the title of the group was the Bill Black Combo.
It didn't say Bill Black. So, Tucker would get up and say, "Bill
couldn't make it tonight. " (Laughs) The thing about it is too, and
I tell lot of people this, it really took a lot of work for us to play it
as simply as we played. I played the most simple solos I could
think of. Any kid or first year saxophones student could play
them. That was a whole idea that all the bands and all nightclubs

in the country could play our tunes because they were so simple.
Of course, they couldn't duplicate that pencil slap that Reggie
and Hank invented, where they bang the strings with the pencil,
but they could come pretty close - especially in a nightclub with
all the noise. That's the reason we played so simply. I played
with jazz groups and play a whole lot more complicated things
than that. But you go back to the recording, I think it was
Saxophone Journal that named me the number one sax player in
59, 60, and 61 because of the records I was putting out with Bill
Black. And that (magazine) was basically for saxophonist's who
play real complicated stuff.

That must have angered a lot of those hot jazz sax players.
Oh, don't you know it. (Laughs) But that was how they rated
things back in those days, how well you did professionally.

Were there other awards that you won?

I'd have to think about that. I never got a gold record for myself,
I did with the group of course but not for myself.

How does that work out? Did they send you your gold record
in the mail or did they make a big deal about it?

Big deal. I believe I was in Chicago working in RCA, I was
traveling between Chicago, Nashville, and Memphis working the
studios with the staff groups. Bill called me and said, "We just
got a gold record. " Apparently they gave it to him and I've got
the pamphlet they printed for it and this one was for "White
Silver Sands." So, they just gave it to Bill and he passed along
the accolades to us. (Laughs) We never really saw the gold
record, so to speak. It's probably at home on his wall.

How long were you with the Bill Black Combo?

I started in 1959 and on and off I was with them until about
1965.

Were you the only studio saxophonist with the band?

Except for a couple of them where I was out of town or doing a
session Nashville maybe, then they would use Ace Cannon.
Eventually, didn't Ace Cannon take your place?

Well, that's what is strange. We kind of shared it and a lot of
people think he played on those original million sellers, but
actually I did those. But he would do the videos and what have
you and people saw him with the band, so they assumed that's
who it was.

Did that cause any friction between you and Ace Cannon?
No, no. We used to laugh about it. In fact, I still kid him about it.
I say, "I'll spot you three years and still blow you off the stage."
(Laughs) We grew up together. As I mentioned, we actually
went to the same junior high school together. I was a lot younger
but he and I are actually very great friends. There never was any
jealousy or hurt feelings because I play a totally different type of
music. He played the, I guess you'd call it, bar room type
saxophone and I played rock only when I had to. I was more of a
schooled musician. I played a lot of jazz flute and I played jazz
clarinet in the Pete Fountain style. I had a jazz quintet in
Memphis there for a couple of years that played in clubs. The
Marty Willis Combo. The Best musical group I ever had was one
I headed up '65 or '66. We were all Memphis State students.
There were five of us and we played down at a club called the
Nightliter and we have people sit in like Pete Fountain - I'd do
the arrangements and he'd do the solos. We had other people
come in like Al Hirt, because they knew that our band was down
there and with a high level of musicianship, and they loved to
come down a listen or sit-in.

So, what was it like playing with Pete Fountain and Al Hirt?
Were you intimidated?

Not really. I wrote the arrangements for the band, I had a seven
piece band for those sessions, and I just enjoyed listeing to my
music being played by these guys. It was great. Let's face it, I
knew I couldn't play clarinet better than Pete Fountain, he was
the best in the business.

Who did you play behind in Nashville?

Let's see now, of course Conway Twitty, I did his R&B '63
album. He was talented. He likes country music better but that
didn't mean he couldn't do the other stuff. That was a fun
session. I had already done Charlie Rich's Big Boss Man and we
did that a lot on shows, I did the solo and so forth. Sam decided
that he didn't like saxophones and we just took it out and left it
blank, nothing. So, I said to myself, "OK Sam, I'll show you. "
So, I went to Nashville with Conway and I played exactly the
same solo on his album and it's there. (Laughs) I did that in spite
of Sam - but that's the way Sam was, he didn't like saxophones.
What you believe the greatest contribution of the Bill Black
Combo was?

I would think it has to do with the style and location of the group.
Stylewise it was understandable, secondly it's replayable. A
small group just starting out can play those tunes. They're not
complicated, no fancy note work or things like that. Thirdly, the
sound itself - they used to call it the magic sound - that driving
bump-chicka-bump sound we got with the pencil slapping, and
lot of people today still don't know how we got that sound. I
would say those of the reasons it was so very successful and it's
time. The Combo was doing things that people understand and
people always enjoy things that they understand.

According to David Stanley's book the last time Bill Black
even heard from Elvis Presley was when Elvis sent him a
congratulatory telegram concerning his hit record “Smoky,
pt2.” Did Bill talk about that at all?

No, like I said, Bill talked very seldom about Elvis. He talked
about things that he and Scotty and D.J. would do on the road,
things that happen to them on the road, and different funny things
on the stage. But he didn't talk that much about Elvis.

I love road stories. Can you remember one of Bill's rode
stories from his days with Elvis Presley?

OK, the night the ‘53 Cadillac burned. That's the first one that
pops into my head. This is the way Bill told it to me. They were
having trouble with their car (laughs) and of course in those days
they carried everything they owned and their instruments in the
car. So, the thing broke down on the side of the road there, so
they got the instruments and the clothes out of it, and burned it. I
don't know whether it started accidentally or with help, that part
wasn't clear. So there they were, on the side of the road with
their car on fire. But you've got to remember that when they
started out, they didn't have much to work with. Bill played an
exceptional bass, he was no concertmaster or anything like that,
but that's not what he did. Scotty had his Ray Butts amplifier
system, and to be honest with you and this is not meant to be
derogatory toward Scotty, but he was not one of the best guitar
players at that time. He was up against guys like Chet Atkins,
Hank Garland, and Grady Martin, people like that. There was no
contest.

Did you know Hank Garland?

I worked with Hank Garland, in fact I got an e-mail from him last
week. [Hank Garland has since passed away - KB.] 1 was
talking to him about some of the things we did together in
Nashville. He remembers that even with some of his memory
problems. He seemed to be doing OK. After that accident of

course, it was all over with for him. [At the height of Garland’s
career, a car accident caused him irreparable brain damage. He
never played again - KB.] But when I worked with him he was
tremendous, He played so well. When he and I were doing a riff
on one of Conway's tunes, I played in tune with him so much that
he couldn't hear me play. He came over to me and said, "I've
never done this before but do you think you could play out of
tune? Pull your mouthpiece out or something, we've got to know
that you're on the record. Most of these guys can't even hear you
" (Laughs) He and I hit it off right off the bat as soon as he said
that. "You've got to play worse than that." See, I was a schooled
musician who was used to playing concert work - so I was used
to playing in tune. That doesn't always work in recordings. So, I
learned something that day.

Garland was a great rock ‘n’ roll player when he wanted to
be.

Oh yeah, and right at the peak of his career, I mean he gave Chet
Atkins a run for his money, but at the peak of his career that's
when he had that auto accident. I never will forget it. To me,
Hank was probably the most talented guitarist there was before
Reggie Young came along, that I ever worked with.

Did you like playing with Reggie Young? /Still active, Young
in one of the few musicians earning triple scale in Nashville.]

Oh yeah. We used to have some fun warming up at sessions at Hi
Records. We'd play five part harmony, jazz riffs and things like
that. He was so talented boy can he play. There is no end to
what he can do.

So, how did you guys get into the groove for the simple-but-
catchy stuff you did?

Well, using Bill Black as an example, again I have my own
group that did a lot of jazz and things like that, but it was a
respite because doing that type of tune was easy. It wasn't
complicated and all. The bad part was having to do SO different
takes. We were able to use tracks to make corrections and
additions.

We read this stuff about Elvis doing 30 takes of "Hound
Dog," did people just keep doing things until they got it right
back then?

I remember taking 63 takes at one session. So, you did as many
as it took. I remember how tired my jaws would get. I'd get the
point where I couldn't play. But there was just no other way to
do it at that time. They just kept doing it until they got the sound
that they wanted. The only guys who get worn out - I think the
drummer's thumb would get blistered and my lip would give out.
Let's talk about some of the original members of the Bill
Black Combo. What can you tell me about pianist Carl
McVoy?

Carl, he was in the construction business if I recall. He was very
instrumental in helping us put together arrangements. Again, he
was not an accomplished or schooled musician but what he
played, he played well. If it took us 30 takes to play it, he played
30 takes with us. He was a very nice and super guy, very
personable, easy to get along with. He'd joke and carry on with
the band and everything. He was a delightful guy.

Did he talk a lot about his cousin's Jerry Lee Lewis or
Mickey Gilley?

I think he talked about them only in passing. Maybe Bill Black
would say something and they would mention something like
that, but never anything particular that I can remember.

What can you tell us about Satch Arnold?

Satch and I went to high school together. We grew up together.
He was a year behind me and we both went to that little junior
high school was telling you about earlier. We also went to Tech
high-school in Memphis and graduated from there. We both
ended up working for Bill Black eventually. Another guy with a
great personality, dry humor, very funny guy. He was just a
down to earth easy to work with guy.

Tell me little bit about the first time you saw Reggie Young.
It goes back to working clubs, he would end up playing with
some group that I was playing with. And they would book me
and I did know who would be in the band before I got there.
Reggie and I also work together on Hi records, cutting all those
albums and singles. He was just a delight to get in there and get
warmed up to play with. Of course playing those recordings, that
was nothing, somebody with a lobotomy could get in there and
play some of that stuff. But, we got a chance to play together on
nightclub gigs once in awhile and that's when we'd have a lot of
fun. What's funny is, when I first played with the Combo I
thought Hank Hankins did most of the pencil slapping on the
recordings I did and Reggie would play the other pieces of guitar
riffs. I found out later on it was Reggie doing pencil slapping.
What do you know about the creation of that pencil lick?

I first saw it during my first session with Bill Black. There was
Reggie & Hank Hankins. Reggie had this pencil out and was
hitting these strings & I couldn’t figure out what he was doing.
He had the guitar tuned down a third to where it was in key of
“C,” even though he was playing in key of “E” on the fretboard. I
was watching and I said, “You know. That's pretty clever.” You
can’t tell too much about something when you’re working in the
studio, but during playback, that’s when you hear it.

Basically, he was playing a version of the old Jimmy Reed
shuffle?

That’s right. The tone wasn’t too low, but it was low enough to
give it that basic raunchy sound - that raunchy shuffle we had.
That was the secret of our sound. Then what I did was, I said
“Bill, these things you’re playing are really simple. I’m just
going to play as simple as I can, because these other saxophone
players in these bands can’t play anything that’s too technically
hard. So, I'll make it so simple that everybody could play it.” So,
that was the secret of our success, that our music was so simple
that every band could play it. There wasn’t anything difficult
about it.

It was also very danceable.

Oh yeah.

Bob Tucker told me that “Smoky part 2" was really popular
in strip clubs. Had you ever heard that before?

(Laughing) I’ ve never heard that before.

When did Bobby Emmons join the group?

We picked up Bobby the first time when on the road to promote
“Smoky, Part Two.” That's one I met Bobby, they pick them up
in Mississippi. Evidently they had run into him when he was
doing a show down there. I think he was barely 17 or 18 years
old but he was very talented. Another guy with a great
personality. They'll kind of picked on him because of his youth
but he was hard-working and he would play as long as you
needed him to play. Just an outstanding man.

Bill Black used to save a lot of the early Elvis Presley shows
with his on stage clowning. He didn't have to do that for the
Bill Black Combo, did he?

MW: He didn't but he did do some things. One of the favorite
ones that he would do in front of a big audience, he would go to
wipe his brow after we got through the tune, and he'd pull a huge
pair of women's panties out of his pocket. He'd wipe his face
with those and the audience would break up. Things like that.

I have a copy of the movie the Bill Black Combo appeared in,
Teenage Millionaire.

Oh boy. (Laughs)

What do you remember about making that movie?

Well, it was my first time in a New York studio session. I think
it was for all of us. I remember going in the studio and meeting
the great Rocky Graziano. Man, he had the biggest hands I've
ever seen for a middleweight. No wonder he knocked guys out.
He had big strong hands. But, I had seen the movie about him
and I had read about him & everybody knew he was the former
middleweight champion of the world, so it was quite a deal to
meet him. So, we went on in and got dressed & ready to shoot it.
Of course, you know it was dubbed & that's why you see him
laughing & carrying on there. Bill Black is actually talking to us.
What is he saying to you?

(Laughs) 1 can't repeat some of what he said. He would
purposely try to break us up and especially try to get me to laugh.
You can't laugh and play a saxophone at the same time. He
always pick on me, especially on stage. He'd come up and say
something in my ear while I was playing and tried to get me to
break up. Anyway, if you look at that film closely, you'll see that
he's talking to all of us. The stuff saying, I don't think I'd even
repeat. You could ask Hank Hankins. He'd always pick on
Emmons, he'd say something ugly about Emmons and you can't
tell a less you're a lip reader. So, he made the whole thing fun.
We knew that we had a pantomime but we tried to play just as
well as if we were cutting live. I did get even with him one time
though. We were doing a TV show - I think it was local - and we
were pantomiming. Well, there is this part on “Smoky” where
the guitar plays and then I come in in the middle of the phrase.
As a joke, I didn't do it. I didn't stick to the saxophone in my
mouth and the saxophone was playing away. I did it on purpose
and Black wasn't paying attention, and when he finally noticed,
he went nuts. Then I went to playing the sax again and said, "Oh,
are we supposed to play here now?" I wish we had a cut of that
one, that was a classic. So, I got even with him for that.
Anyway, we did the movie and did both of our tunes. One of the
big thrills was getting to meet Chubby Checker. Chubby came
into our dressing room and said he wanted to meet Martin Willis.
Black went into his routine and said "We don't have a Martin
Willis." He got to kidding around and finally introduced me, and
Chubby said, "Yeah, I've heard so much about this sax player
you've got, so I want to meet this Martin Willis." So, I got to
meet the great Chubby Checker just before he went out to do his
number. Extremely nice man.

You guys were used to dealing with black music and black
musicians, weren’t you? By that I mean you never really
thought twice about it.

No, that really didn't cross our minds. In fact, on the road I
worked in a jazz club and Omaha, Nebraska, where there was no
dancing, just jazz. Big club, fully packed and there was nothing
up there but jazz musicians. All black, I was the only white guy
there. I didn't make a big deal about because of the music aspect.
In Memphis, we’d go out to catch black bands. We'd go to
places like the Manhattan Club, they usually had a black group
there. Of course, in the studio you'd also work with black
musicians, You can't tell what color we all are on the records. It
never crossed our minds because we judge a person by their
ability to play. Now, if he was a lousy player we let him know
about it real fast. As you know, we had racial problems and
Memphis during the 1950s and 1960s, they are known about
worldwide. But when it came down working professionally with
these guys in music, it didn't come up as a subject. We just
disregarded all the other crap that was going on and did our job.
Did Bill ever say "let's cut a blues tune?"

What Bill would do in terms of themes, I'll give you an example.
We did a record called Bill Black Goes West. Well, John Huey
and I were the leads on that along with Reggie - the three of us.
If you listen that, you'll hear how well we blended together. I
love John Huey, for years and years I listened to him. He was
like the God of steel guitarists as far as I was concerned. Bill
decided we were going to do western album, so we came in there
with the idea that we were going to do Western tunes. We'd
listen to a demo of the tune, play it and record it. Most of our
albums were not on a particular theme, I just mention that one
because it was an all western album.

There was also a Bill Black plays Chuck Berry album. Were
you on that one?

No, I believe I was in Nashville when that was recorded.
Remember, just because you're at that session doesn't mean that
the records that cut for that album or at that session. We put a lot
of stuff in the can that they pulled out later as fillers or to tie-in to
the theme of a particular album. We did so much stuff that we
put in the can that wasn't released together.

Did Bill pay you better than some of the other situations you
were in?

Let me think about that. (Laughs) We were so poorly paid by
everybody. That's like saying, "my leprosy is better than my
cancer." I would say yes, Bill would make sure that we were
really taken care of, especially on the road. He paid us regularly,
on time, you never had to worry about money when it came to
Bill. He always made sure the session money was in. I was
probably paid had a better scale and more promptly by Bill than
anybody else I worked with.

Why would that be?

I don't know. Maybe it's because he was a poor musician at one
time himself and he knew it was like to be a musician and not
have any money. He empathized with that and made sure
everything was paid and on time.

Did you have any clues that Bill was seriously ill when you
worked with him?

No, but I'll tell you what, I always suspected something. I was
his roommate and I knew about the headache powders he had to
take constantly. He had this headache all the time and it would
be really severe. I remember saying to myself, "I wish somebody
would do something " He thought they were migraines.

Everybody knew what migraines were, so they dismissed it
usually. But, I really had concern for Bill because he had these
excruciating headaches.

And he was still going out on the road as late as ‘64?

Yeah, because like I say, I was his roommate and he carried a lot
of headache powders with him. That became the thing I noticed
being his roommate, how many times he took headache powders.
He'd take them before jobs and after jobs, traveling, he'd have a
bottle of aspirin with him sometimes because the pain would be
so severe. He said there were migraines and other people with
migraines did the same things. That was the reason we did it to
bent out of shape about it. I think it was even diagnosed as
migraines the first time. He'd come in some nights after the
shows and you could tell he was really in pain.

Under those circumstances, was he able to perform music?
Oh yeah. He always performed and never missed a job.

How was his fingering? Sometimes when a person has a brain
tumor they lose precise motor control. Was he fluffing a lot
of notes?

No, not when I was working with him. Now, that may have
happened after our last session together, but I wasn't there for
that. You'll have to ask one of the other guy's was working with
him at that time about that.

So, Bill Black died. How did the Combo end up in the hands
of Bob Tucker?

Well, before Bill passed on he had formed these groups. We
would cut the records and they would go on the road. The
personnel in these groups changed from time to time. Bobby
Tucker was put in as a leader of one of the groups, I forget who
were the leaders of the other ones. Anyway, we would cut these
tunes, and these other groups would go out on the road and
promote them. Because Carl McVoy couldn't travel, I couldn't
travel, Reggie didn't want to travel. Because we all had
something else going on at the time. I had my all-star group at
that popular nightclub that everyone went to. I was also going to
college. I was working sessions at two other studios and
occasionally took a trip to Nashville. So, I had all that my plate
could handle. It was tough. When I was going to school there I
would tell people, " I'd lay down to take a nap and when I got up
I didn't know if I was going to work or going to school. " I'd have
to write it down and lay my clothes out. I could not figure out
what time of day it was or where I was going otherwise.

What was the game plan for going back to school?

Well, to go ahead and finish my degree work. At the same time I
was working with Billy Riley on some recordings. He and
Roland Janes had their own studio set up. So, 1 was doing some
records for them and trying to come up with a single that would
get kicked off. I also did some things with Bill Black, demos
that he tried to sell to London records.

Were the labels you worked for with Riley and Roland the
Rita and Nita labels?

Yeah. I did a couple of records for them on there too.

Bill Black's died in 1965. When did you stop working with
the Combo?

Probably around that same time. Like some of the other guys we
just sort of drifted off and went our own ways.

Plus the music was changing at the time, wasn't it?

It certainly was. But, I never really had a problem because I had
such a diversified background. I had background and big band
music, classical, jazz. I've even worked with the Barnum and
Bailey circus bands. So, there's not much I didn't play in music.

When did you get your degree?

I got it a few years later. I went to another school to finish it up
there because at that point I had already segued into the
hospitality business. A fellow by the name of Kemmons Wilson
helped me. My band was performing on top of the 100 there in
Memphis. One night he saw us and he was standing over to the
side and he said, " I'd like to hire you. Come down and see me in
my office tomorrow. " I asked who he was and I was told that it
was Kemmons Wilson, the guy who ran the Holiday Inn chain. |
went by the next day to talk to and he talked me into coming to
work for him. I took my group over to the 100 club there in
Memphis and I also took up management of the club. One just
sort of melded into the other, the next thing you know I'm going
from that into hospitality at the Peabody for awhile, catering and
services. From that, I just kept on moving from hotel company
to hotel company.

What degree do you hold?

I have a Ph.D. in hospitality and restaurant management.

What was it about you that impressed Kemmons Wilson to
hire you?

You know what? That's one of the things it's been a mystery to
me to this day. (/Jaughs) Apparently he had somebody watching
me at work and they recommended me.. You don't turn down the
chairman of the board of Holiday Inn.

Was it a difficult decision for you to ease out of music?

No, because it was a segue situation. because I was operating the
food and beverage concession at the 100 club while running the
band. As I became more enmeshed in the food and beverage side
of the business, I became more interested in doing that and kind
of backed away from the music end of it. From there a big
company hired me and I just sort of segued from one right into
the other and | found out that I liked it. I didn't really take my
fingers out of the pie I just sort of kept my hands on the side of
the pan.

Did you ever pick up the old saxophone and jam just for old
times' sake?

I did it once in Atlanta. We opened a hotel down there and we
had a group from Las Vegas in and I couldn't stand it and I had to
go get my instrument and play with them. They were a really
good jazz group of Las Vegas and | couldn't stand it I had to go
get my clarinet and do the Pete Fountain routine with them.

How was your lip?

At that time, it wasn't too bad. But as time goes on, and you
don't do it, you wake up one morning and say, " Hey, I can't play
anymore. " I'm tempted now to go back. I've talked to a lot of
people who want me to do things now. I may try to do it again.
I'm working with my dentist right now and he is trying to
reinforce my two front teeth, because when I play I have a
tremendous bite and he's afraid I might snap my teeth. So, he's
going to beef them up for me so I can put on that pressure.

When was your last official gig?

I think it was around 1968. I've done a lot of things since then.
But I had a family, a young family, and I knew I could be in the
hospitality business and take care of my family and still be
around music. That way, I could do something where I didn't
have to travel anymore and didn't have to worry about the late
hours at night. (Note: In 2006,after this interview was conducted,
Willis reunited onstage with Riley at the Memphis in May
festival. He has since stated that he has no future plans for live
performances)

After years of playing clubs and touring, what was it like for

your spouse to actually have you home at night?
(laughs) Well, that took some getting used to . On both our parts.
When did you move down to Florida?
We moved down here in 1968. I had been working in the studios
and things like that up until 1967 and thanks to the Peabody I had
a chance to come down here and get into a hotel business full-
scale. So, I took that and I've been down here ever since.
Many artist's tell me they don't receive royalty payments
from their work. Do you?
Not at present, no. The last one I got, I wrote a tune that Marie
and Donny Osmond did on their show and they sent me a royalty
check. That was "Misery." I didn't even know they had done that
but they send me a check with a note on of the said that they
performed such and such.
Were you surprised to learn that the Sun Records sound is
still big all over the world?
I have always insisted that good music will never go away. It
may change a little bit in style or in presentation, but good music
never goes away. Because people are still discerning even if they
don't have a formal education. Another good example of that is
the resurgence of some of the big bands and the big orchestras
have never really gone away. People still like good orchestra
music and they still sell lot of records. Some of the movies still
have great sound tracks. You still have guys like Quincy Jones
who can still write tremendous tunes and there are some people
in the wings coming up who will carry on.
Are you proud of the things you're able to do it in rock ‘n’
roll and jazz?
Yes. I'm not proud of the fact that I should have done more, but I
decided to hang it up and get into the hospitality business. That's
been good to me all these years. the only thing I miss, | wish I
could have gone back and done some things with the guys again
before they passed on.
What would you like to be remembered for?
I'd say the group I had in Memphis. The five guys I had were a
tremendous musicians. I think we probably had the best group I
had ever seen. We were actually a variety band, but we played a
lot of requests which included Rock 'n' Roll. They were all
accomplished musicians. On drums there was a fellow by the
name of Buddy Rogers. Bubba Vernon he was the pianist, he
also played in the band at Memphis State. Danny Hollis, a blind
trombone player who used to stand on stage and squirt his water
bottle on people dancing by and didn't know it. I wrote him a
chart one time and I held it up for the audience to see. It had one
note on it. I said, "That's his music for the night." Mike Leach,
he's a tremendous bassist, I think he's in Nashville now. Along
with Reggie Young, I think he's in Nashville now too. This group
was so talented and we liked to have fun. They said that our
bandstand looked like a pawn shop.
Thanks to Mr. Willis for supplying much appreciated pictures.
Below: Willis with Riley, 2006

at eel

tloman John Battles is a great fan of all and ago

Rock & Roll. Here he pays Final respects to some of his f :
e the transition from mortal to immortals,

ake he Me)

JANIS MARTIN -Depending on your point of view, you could say
Wanda Jackson is The Queen of Rockabilly, or you could say that title
belongs to Janis Martin...OR you could say the throne is big enough for
the two of them. I don't think either one of them would object to that.
Like a lot of her peers, she started out in Country, but fell under the spell
of THE BEAT! THE BEAT! THE BEAT! Unlike most of her peers, she
already had a hit record by the time she was 15. Her gender, as well as
her age, made her unique in the Rockabilly field. Along with Wanda
Jackson, Lorrie Collins of The Collins Kids, (early) Brenda Lee, Barbara
Pittman, Sparkle Moore, Joan King, and even Rose Maddox, when she
put her mind to it, Janis led an elite female squadron of Rockin’ Riveters
whose slogan might as well have been "HELL, YES, WE CAN DO IT!”
With her work came fringe benefits, like dating Elvis (If you'd care to
dispel this, feel free. I've read this more than once). RCA felt confident
enough in her talents to call her "The Female Elvis" (not a feminized
take on Elvis’ act, like Allis Leslie, however), while Elvis gave RCA the
go-ahead to call his labelmate just that. Janis sang what is still one of the
finest tributes to Elvis in song, "My Boy, Elvis.” Martin emerged with a
seemingly endless run of strong material, such as "Good Love,”
"Drugstore Rockn"'Roll,” "Crackerjack,” "William" and a top-notch take
on Roy Orbison's "Ooby Dooby.” But she took the advice of one of her
own songs, "Let's Elope, Baby.” When she recorded the song, she was
already secretly married her to her childhood sweetheart, Tommy
Cundiff, who was then in the Army. She was 15 at the time, and, at the
age of 17, she was pregnant. The label dropped her, though she was
recording well into the eighth month of her pregnancy. As with many of
her, seemingly forgotten, peers, Janis eventually got the call, from
Europe, and was up and performing again, from 1982 until recently. I
had the good fortune to see and meet Ms. Martin, and, I mean to tell
you, you only WISH your Mom or your Grandma was so cool! There
she was, wearing black leather pants, smoking a cigarette and drinking
PBR in the can. "I'M JUST A DIRTY OLD BROAD!” she said,
addressing an enraptured crowd at the 2005 Green Bay Festival. She
was really working the stage, grinning devilishly and singing with as
much, arguably more, fire and gusto as she had in her salad days. She
proclaimed from the stage that it was Ruth Brown and LaVern Baker
who's driven her to make the switch from Country to "The Devil's
Music.” I'm sure they'd both be proud to know they inspired THIS
fireball. Janis washed 'em out, wrung ‘em out, and hung 'em out to dry,
and that means me, too. I couldn’t believe what a high energy performer
she still proved to be. The next day, I met her briefly in the casino lobby.
I told her I thought her set was one of the uncontested highlites of the
festival, and I wasn’t heaping on false praise, either. Sadly, Ike Turner
and Hank Thompson, who both played the same festival, passed within a
short time of Ms. Martin. You can imagine what kind of FUN they must
all be having, now, but you wouldn’t even be close.

LEE HAZLEWOOD - "Some called him Cowboy. Some named him
Sand. It don't make no difference. Lee Hazelwood was The Man." Lee
Hazelwood was in the middle of a resurgence when his number came
up. He hadn’t been well enough to fully enjoy it for some time. He did
do a rare (for both of them) concert tour in the 90s with Nancy Sinatra.
While he probably could have made a dramatic entrance in his pajamas,
Hazelwood emerged in full black western gear, chaps included,
offsetting his still-dark hair and moustache. He looked like he had

ines

od friend to many of the (egends Ged

avorite artists who have

PLANS for this town, but he opted just to sing. And, man, could he
SING! He hit a lower resister you've never heard anything like,
something akin to J.D, Sumner, or a melodic Beefheart. When he and
Nancy dueted on "Sand,” and especially a "Some Velvet Morning" that
was black as Lee's stage attire, you could see how their seemingly
unlikely coupling could still produce the kind of witchcraft that kept Lee
separate from the Pop mainstream, even though that was where he had
staked his claim. Lee was always an individual, not as mentally unstable
as a Spector or a Joe Meek, but a creative genius sought out by talented
people with an ear for adventure. The vocally anti-war Hazelwood (he
moved his family to Sweden to keep his son out of the Vietnam draft),
somewhat ironically, got his start in music in Korea during the war,
deejaying for the troops. Relocating to Arizona, he became a DJ, one of
the first to give a little known singer named Elvis Presley airplay outside
of his home base. Phoenix was a popular test market for unproven
musical talent, but Lee could tell there was something happening, and
soon got in on that Rock ‘n’ Roll action, himself. Meeting up with a
guitarist named Duane Eddy, with whom Hazelwood developed
the celebrated "twang" sound, Lee prospered as a writer, arranger, and
producer. He produced hit after hit on Eddy, and later, produced one of
Surf music's finest moments, the "Surfin' Hootenanny" LP for Al Casey,
rhythm guitarist for Duane Eddy's Rebels. Casey, unfortunately, also
passed away recently. Hazelwood also scored big, prior to all this, with
Sanford Clark's "The Fool,” now a Rockabilly standard (Clark and
Casey were still performing together as of a few years ago). Years later,
Lee hooked up (figuratively) with a then-struggling Nancy Sinatra.
Being the daughter of one of the most powerful men in the music world
(If not THE world) just wasn’t enough. I have one of her early singles,
and it's proof that Frankie's girl needed to find her niche. Nancy's
marriage to Tommy Sands had ended, and Lee advised her to drop her
innocent, sexless image, and pitched a song to her that he felt might just
be the ticket. "These Boots Are Made For Walkin" became a calling
card for the new Nancy Sinatra, the 60s latest sex bomb. With
Hazelwood at the dials, and the celebrated "Wrecking Crew,”
Hollywood's finest studio musicians, including Hal Blaine on drums and
Billy Strange on guitar (Filmmaker Don Glut, told me that he met Glenn
Strange, of Universal "Frankenstein" movie and "Gunsmoke" fame,
through Billy Strange, as the two were related. I can't confirm that, but I
do know former Drag performer, Tangella, is a great, great Nephew to
Glenn Strange himself!), Nancy had a formula for success on her own
terms. When not working with Sinatra, Lee found time to record an
album, "The Cowboy and The Lady,” with Ann-Margret (how lucky can
one guy get?), and some singles on his own label, LHI, including the
devastating two-sider "It's a Nice World To Live In,” in which Ann-
Margret can be heard screaming her lungs out in a decidedly Proto-Punk
manner over scorching guitars that rival the early Cramps for fuzz
driven mayhem, and the Hazelwood original, "You Turned My Head
Around,” delivered in Ann-Margret's best sex kitten voice, with heaping
helpings of Psychedelic fuzz, skronk and screech. Lee’s been called
"quirky" a lot, for marching to the beat of his own drum, and following
his own muse. Even his last work, recorded in the knowledge that each
day could be his last, bears that signature.

REX GREGORY- The tragic irony is, that just after my interview with
Chris Gerniottis, lead singer from The Zakary Thaks ran in the last issue

young

of Roctober, Gerniottis sent me an e-mail, informing me that Thaks
Bassist, Rex Gregory, had died, suddenly and unexpectedly. The band
had plans to keep playing in the future, but this time, they "Won't Come
Back.” In a written statement, Gerniottis said, "I'm quite certain the rest
of the guys are still in a state of disbelief about Rex. This feeling is not
unlike the same shock we felt when our Drummer, Stan Moore, died
back in 2000..” The band reformed in Moore's absence, but knew it
could never be quite the same. "If there was still any lingering doubt,
Rex's passing finalized it-The Zakary Thak area done deal!.” With Rex,
the band has lost not only a crucial part of the band's musical core, but
also a great friend. "Even without Stan drumming, the fact that the
surviving four of us still hit some incredible grooves at times made it all
worthwhile. But when a band loses both it's Drummer and Bassist, it's
heart and soul succumb as well. Rex was one of the best on the bass.
Musical aptitude and playing proficiency were an intractable part of his
DNA. I think he died a happy man for the most part, and was also
grateful that he got to be a teenage rocker-even if it was only for one
hour increments. I, myself, am grateful, too, that the nucleus of the
group got to get back together again, 38 years after the fact, and that we
had the good fortune to play half a dozen gigs of memorable proportion.
I'm happy to have lived long enough to experience this "Magic"
again...” That magic will burn on, whenever we hear the recordings that
capture the teen energy of one youthful, and very talented musical outfit,
one that's now taken it's final bow, but will provide the soundtrack for
many good years to come.

RAUL - Raul was the lead singer and bassist in what used to be the
ultimate Bar Band in Chicago, if not the whole U.S.A. They had held
down a residency, for many years, at The Lakeview Lounge, an
extraordinary dive bar located north of Uptown, about a half block from
Argyle, the former "New Chinatown" (a moniker no longer used, in the
wake of a dearth of Chinese-run establishments). The Lakeview was the
kind of place where it was not unusual to see someone passed out, face
first, in the bar, nor to have total strangers bring you into friendly,
though, often bizarre, conversations. The Nightwatch Band (Or as my
friend, Bob, dubbed them, "The Cheech and Chong Band ") ruled the
roost on weekends, and would play multiple sets (with, of course, a
"Liquormission,” here and there) until closing time at 5:00 am. They
were the classic Bar Band, the kind you'd be hard pressed to find again
in this day and age. They were frozen in time, and refused to concede to
the 21st Century, or even the latter part of the 20th!!!! They did it all,
50s to 70s Rock ‘n' Roll, Country, Soul, Pop, Surf, even some Jazz,
ALL done with Garage Rock abandon and Teen Punk enthusiasm. With
one Polish Brother y dos Hermanos Mexicanos, theirs was truly an All-
Chicago lineup. Raul often sang in a manner that recalled Freddy
Fender, though he had a far raspier voice, which he applied to
everything from "Reelin' In The Years" (always the show-stopper, when
Larry, the guitarist, would unleash an arsenal of effect pedals) to
"Happy, Happy Birthday, Baby" (It was always SOMEONE'S Birthday
at The Lakeview) to "Long Cool Woman (In a Black Dress)" or "Sweet
Home Alabama" (both of which usually found Raul forgetting one verse
and repeating another, but nobody cared). He could make you love a
song that you were sick to death of hearing. The climax of a typical
Nightwatch Band show was when they'd close a set with an abbreviated
version of "Purple Haze,” Raul pretending to set his bass on fire with a
busted lighter, and shouting, "S'CUZE ME WHILE I KISS MY ASS!!!”
It was funny, every time. The band members would hang out with the
crowd between sets, Raul often in there with a ribald story or two. He
once told me about going to see The Beatles at Comiskey Park, and how
that was the thing that made him want to play Rock ‘n’ Roll. The band’s
profile peaked less than ten years ago, via coverage in New City and The
Reader (the former written by our own James Porter). The hipster and
College crowds took to them, but not enough to kill the vibe. The
regulars at Lakeview did not make trouble for newcomers, like SOME
fine establishments in Chicago. It was music for anyone with a mind to
have some fun. Soon, the band was accepting offers to play at places
like Delilah's and The Viaduct Theatre. But suddenly, without warning,
their base of operation closed down. The band split up in the aftermath.
But another suitable venue, the iiber-dive bar Sav-More Liqours, begged

them to get back together and play a few dates. I saw them there, twice,
and it looked like happy days were here, again. I even finally fulfilled
my wish to sing a song with them, the perfect Rock ‘n’ Roll song, "Little
Sister,” by Elvis Presley. It didn’t sound so perfect in OUR hands, but
that's not the point. I could have asked to do a number with them
anytime, as they were always open to letting people sit in with them, but
I had to shake my "I'm not worthy!!" complex. It looked like The
Nightwatch band was on the verge of a comeback. As it happened, I was
running into Raul fairly often, as he was living just a few blocks from
me. The last time I saw Raul, a year or so ago, he was not looking the
picture of health, but there was no way of telling that his life could have
been in danger. Like some others in this column, I have no details on the
circumstances surrounding his death. I can only hope it was fast, with a
minimum of suffering, and that Freddy Fender has saved him a seat.
PORTER WAGGONER- Porter Waggoner, for his many
accomplishments, will be remembered, no doubt in death as in life, as
"that guy with the big hair and the glittery suits.” That tag was never an
albatross, but rather, a source of pride. I'll never forget talking to my
friends' daughter, Miranda, who'd just won a trip to Nashville. While she
and her family were down there, they got to see Porter Waggoner
hosting The Grand Old Opry for free. "So, Miranda,” I asked, “what did
Porter Waggoner look like? Did he have BIG HAIR?” "No. He just had
normal hair. BUT HE DID HAVE A RED, WHITE AND BLUE
SPARKLY JUMPSUIT!” Waggoner was definitely a man on top of his
game, and not just in terms of sartorial splendor. Besides hosting The
Grand Ole Opry, he also hosted his own TV show for a staggering 21
years. He introduced "Concept Albums" to Country music, with "Soul of
a Convict,” and "The Cold, Hard Facts of Life,” a collection of songs of
death, murder and betrayal. The remarkable "Rubber Room,” probably
his biggest cult number, is either a bit of sick, twisted humor or an
accurate depiction of life in a maximum security mental facility, replete
with haunting echo and the repeated warbling of a" a psycho; "He's in
The Rubber Room. ROOM, ROOM, ROOM, TOMB, TOMB, TOMB,
WOMB, WOMB, WOMB, DOOM, DOOM, DOOM...” As it happens,
Waggoner had been committed to Parkview Mental Hospital, as had his
friend, Johnny Cash, prior to the song's inception. Besides hosting The
Grand Ole Opry (and acting as unofficial spokesman, when Roy Acuff
died after celebrating 50 years with the national institution), his other
big claim to fame was giving Dolly Parton her first big break. The two
worked as a duo from 1967-70. Porter began worked with producer
Steven Shole, at RCA, a good three years before Elvis Presley. While
Elvis' remarkable gold lame Nudie suit (which he seldom wore, as it was
too hot under the stage lights) is the stuff of legend, Porter owned 50
suits crafted by Nudie, "Tailor to the Stars.” A long-overdue comeback
seemed imminent. Porter was just beginning to reach a younger
audience, opening for The White Stripes, and releasing a new CD, and
"The Rubber Room: The Haunting Poetic songs of Porter Waggoner '65-
'67.” But Lung Cancer spoiled his plans. Perhaps he knew that even if he
wouldn’t be around to see it, that his music would continue to find new,
dedicated followers. We can celebrate his work, here, on this mortal
plain, while a bigger celebration is happening on Hillbilly Heaven.
Porter never compromised. some of his records might have been as
bland as the competition, and some might have been bordering on insane
(the seemingly Funkadelic-inspired "Country Bo Bo,” anyone?), but he
didn’t do what Nashville wanted him to do. As Waylon Jennings stated,
so accurately, "He couldn’t go Pop with a mouth full of firecrackers!”
IKE TURNER - I sure won't be the first writer to ask his readership to
separate the deeds from the music, if they can, in Ike Turner's case. The
dirty deeds side of Turner is well-documented. bottom line is, yes, only
a fool doesn’t know that violence against women, or children, OR men
is wrong. Ike Tumer, as any fool also knows, wasn’t the only person in
his field who stepped over that line, but without making excuses it
should be noted that his enormous contributions to American culture
have largely been lost in the shuffle. Big Sandy boiled it down to a
single shot, introducing Turner at The 2005 Green Bay Rockin' 50s Fest
by saying: "NO IKE TURNER, NO ROCK ‘N’ ROLL.” Though the
early rumblings of Rock ‘n’ Roll could be heard in the recordings of
artists like Wynonie Harris, Roy Brown, Big Joe Turner, and the

Treniers, historians and fans generally agree that it was "Rocket 88",
recorded in 1951 by Ike Turner and His Kings of Rhythm, with Jackie
Brenston on vocals, that had all the right elements to make it the very
first Rock ‘n’ Roll record. Excelling both on piano and guitar, Ike
quickly made a name for himself, be it through recordings issued under
his own name, or the many sessions, credited to other singers, that bore
his distinctive instrumental touch. He found his match in a fiery young
female singer named Anna Mae Bullock. He married her and changed
her name to Tina Turner. We know what happened next, but its
important to note that Bullock/Turner and Ike rode out the fifties
Rhythm and Blues wave and got in on the ground floor with a new
sound that was sweeping Black America, spearheaded by James Brown
While Tina would quickly establish a rock-hard reputation as the female
James Brown, capable of moovin', groovin’, screamin' and steamin' in a
manner comparable to Brown. Ike put together a sensational live show
around Tina, her backing vocalists, The Ikettes and, of course, Ike
Turner and his Kings of Rhythm. Fusing Blues and Rock into their Soul
bag, the Turners crossed over into the White Rock ‘n’ Roll circuit with
ease, opening for The Rolling Stones many times. Okay, you know what
happens next (abuse, divorce, cocaine...) In the late 90s, Ike began, in
earnest, to go about trying to improve his image. My friend, Jeffrey
Evans (68 Comeback, Gibson Bros), met him at The Pyramid Guitar
Store in Memphis, and told me Ike was gracious, declining Jeff's offer to
turn the axe he been playing over to him, choosing, instead to merely
listen. Deke Dickerson told me, once, that he was surprised to learn that
Ike was in the same studio in L.A., where Deke was laying down some
tracks. While trying to think of a way to introduce himself, Tumer
actually turned up, unannounced, to listen to Deke and his band. Seizing
the opportunity, Deke ran up to Turner, saying, " IKE TURNER,
OMIGOD!!! WHEN YOU DID THAT RECORD FOR
CROWN....THAT WAS AWESOME!!!" (Crown was a record label in
The 60s that released early, unreleased recordings and outtakes by
established artists, sometimes padding the tracks out with cuts by
unknowns). "CROWN RECORDS?! MAN, THAT WASN’T NOTHIN'
BUT A PIECE OF SHIT!” But the ever-resourceful Deke convinced
him otherwise. Still and yet, there was the infamous incident at The
Blues Fest in Chicago, where Turner (with a mysterious gauze bandage
wrapped around his throat) told a group of autograph-seeking fans: "I'm
only signing autographs for Black people,” making his a very short task.
At the Green Bay Festival, I met a member of Ike's band, who told me,
"We all have to leave in the morning, but Ike wanted to stay and hang
out, watch the bands and meet the fans.” Sure enough, that's what he
did, proving to be very approachable. He could have been forgiven for
acting differently, but he wasn’t about to go out that way. He knew he
didn’t have all the time in the world to salvage his reputation, and while
the way he went out (with cocaine in his system) won't affect anyone's
memory of him for the better, he must have known that Rock ‘n’ Roll
history was being rewritten in his favor while he was living.

HANK THOMPSON - From German and Czech ancestry (his
grandparents had their surname, Kocek, anglicized to Thompson before
Hank was born), and a decidedly non-musical family, Hank Thompson
became enamored with The country music sounds of the Carter Family,
Jimmie Rogers, and others that got frequent airplay. As a young man he
did live music programs, mainly for kids prior to enlisting in the service
at age 17, but found he couldn’t get his old job back at WACO radio
after WWII. So he began recording, and was able to put an acetate of an
early version of one of his biggest hits "(I've Got a) Humpty Dumpty
Heart" in Tex Ritter's hands. Soon, Hank would be all over the radio, as
Ritter was instrumental in getting him on Capitol Records, then in the
throes of revolutionizing the Country and Western market. With The
Brazos Valley Boys, all top-notch musicians, Hank plowed his way
through the charts, with hits like "The Wild Side of Life,” "Squaws
Along The Yukon,” "A Six Pack To Go,” "Whoa Sailor” "Oklahoma
Hills " and "Rockin' In The Congo,” Thompson, much like his

labelmate, Tennessee Ernie Ford, proved that Country didn’t have to be
a drag. This wasn’t all "Cry in your beer" stuff (though he handled those
numbers with the same conviction). The smash hits weren’t as constant
after he left Capitol in '64 but he still made appearances on the charts for

years to come. In fact, still recording in the 21st Century, Thompson
could say he worked in the recording industry for a staggering SEVEN
decades. Relocating to The Dallas/Ft. Worth area, he played a weekly
engagement, and not long ago he made his way to Chicago, doing two
sets at Schuba's. I did get to meet Hank, and found him to be as pleasant
and as easy going (you never saw a guy SMILE so much!) as his stage
persona. Several years later, he played at The 2005 Green Bay Festival,
and turned in a triumphant performance. Still looking good, still singing
beautifully, and smiling like a bird-fed cat! His songs sounded as good
as new, and they always will.

CARL WRIGHT- There's an episode of "All In The Family " where
Archie visits a local TV studio to offer a rebuttal to the host's recent
anti-handgun speech. When the host gets a load of Bunker in all his
glory, he gets on the horn with his staff and says, "Come up here at
once. I've got something you'll want to see, before it's extinct.” That's
basically what I told my friends about my favorite TV show, Pervis
Spann's Blues and More. Two old Black guys, talking about whatever,
sometimes showing videos, but mainly, busting each others balls (with
Spann mainly on the receiving end). So wrong, it was RIGHT ON!
Pervis Spann worked his way up from becoming a deejay over forty
years ago, part of the influential, legendary "WVON Good Guys"
(alongside a pre-Soul Train Don Cornelius) to owning WVON (while
still deejaying and hosting Blues and More). His co-host, Carl Wright,
was a beloved Chitlin' Circuit performer who hosted many great Blues
and R&B package shows in Chicago, most notably at the legendary
Regal Theatre, Chicago's counterpart to The Apollo. As late as the mid-
90s, Wright was dispensing humor that most folks probably thought had
died with Vaudeville, but eventually, Hollywood came calling. Wright
suddenly found himself in several major hit comedies, "Big Momma's
House,” "Soul Food" and "Barbershop,” often pulling the rug out from
under his younger, more established co-stars. His break came later in
life, and he grabbed the bull by the homs, proving, quickly, that you
didn’t need youth, or four-letter words, on your side, to have the masses
laffin' right off their asses. Movie obligations notwithstanding, Wright
came back to co-host Blues And More as often as time would permit.
Pervis Spann and Carl Wright had perfect chemistry together. Spann, the

somewhat out-of-it straight man, and Wright, the biting, sarcastic, self
absorbed funny guy. WHAT a funny guy, too. He probaly could have
read you the back of a Rice Krispies box and made it sound hysterical.
As The Reverend Wright, Carl ran his own church, "Little Henry Baptist
Church,” located at 55th and State Streets ("In The Suburbs!"). Only
women were allowed in his congregation, and, reportedly, the less they
wore, the better! His baptismal was a hot tub, and, while men were more
than welcome to make donations, they'd have to do so via the drive-thru
collection plate in the alley. Wright stated that if anyone drove through
the alley without leaving money, sharp blades would emerge from the
cobblestone and slash their tires. Once, The Rev. Wright allowed a man
inside his church, a one-armed man, that is. Not out of empathy, but
because he was the only person who could pass around the collection
plate without dipping into it, himself. The Good Reverend also had a
thing for BIG women. His "Main Woman,” Othella, was represented by
a large Black and White novelty poster of an overweight woman in a
nightie. While "Othella" never materialized, some of his other
girlfriends did, especially "Madame Buzzard" (pron. "MAH-DAM
BOO-ZAHRD"), the Voodoo Priestess. Like a villainess out of the
Batman TV show, she'd turn up to put Voodoo spells on Carl, either for
sleeping with other women, or for not delivering the goods in bed. Once,
she turned Carl into a kitten. A live kitten was shown onscreen with
Carl's voice in the background, saying, "Please, Pervis! Please don't let
the people see me like this! Make her change me into the player I
WAS!” When the spell was reversed, Carl had no knowledge of what
had happened. Spann told him, "Just a minute ago, you had FOUR
LEGS!,” to which Wright replied, " Four legs?! You might've seen me
coming out of the shower, and I had THREE legs!” He could take the
most tired old gags you've heard done a million times, and make them
sound funny again. THAT is the essence of the Old School comic.
While I've had the pleasure of meeting Spann, I never did get to meet
Carl Wright. However, I was at The Las Vegas Rockaround a few years
ago when I happened upon none other than Dolemite, himself, Rudy
Ray Moore. We got to talking (well, mostly HE talked). He told me he
was planning to visit Chicago in the near future, and I asked him why
doesn’t he see about getting on Pervis Spann's show. "You know what,
young man?" he said, " I saw Carl Wright at The Players' Ball last year
in Chicago. He gave me his number, and I never got around to phoning
him. I think I'll call him right now!” Now, of course, we were in Las
Vegas. No one was watching the clock, and, it was getting pretty late on
Pacific time...which meant that, in Chicago, where Wright lived, it had
to be at least 4:00 am, perhaps even later. Dolemite showed me a name
and number on his cell phone, "Do you see this, young man? That's Carl
Wright's phone number. I'm going to call him right now... (pause) Hello,
Carl? Yes, this is Rudy Ray...Rudy Ray Moore.... DOLEMITE, man.
How are you, Carl? Oh, I'm fine. I'm in Las Vegas, and I have a young
man here with me that says he knows you" (J interject that I only knew
him from TV and the movies. Maybe that was a mistake) Then, I could
tell that the two were discussing mutual friends from the old days-"Yes,
she still survives. Mm- hm. He still survives, too. No, she's passed on.”
Then, Dolemite wrapped up the conversation, and told me, "Do you
know why I know Carl Wright so well?” He proceeded to tell me about
an act from back in the Vaudeville days called "The Three-Leggers,”
consisting of a relative of Moore's and a relative of Wright's (though,
obituaries reported Wright, atap dancer as a young man, one of the
dancers). The reason they were called The Three-Legged Dancers was
that one of them only had one leg!” Or maybe, it could have been that
someone caught The Reverend coming out of the shower.

DAVE DAY-The monks' journey to obscurity, and much-later ascent to
international fame, has already been recalled, in great detail, in the pages
of Roctober, Ugly Things, and other fine zines. Their arrival on the
German Beat scene, followed by opening for the likes of The Kinks, The
Troggs and Jimi Hendrix (who was, reportedly, one of the only stars
who "got it" with what the monks were doing, musically), led to their
one LP on the not-too-shabby Polydor imprint, only issued in Germany.
Through it all, there was collective dissension within their ranks as they
grew tired of their "monks" image, considering growing their hair back
out and losing the robes. None were more discontented than banjo

player Dave Day. Dave was the rocker of the group, the one who wanted
to "Mach schau" ("Make show"), as was the standard on the "Beat"
circuit. Dave was like a tiger in a cage, he wanted, so badly, to really be
a Rock ‘n’ Roll star and entertain people, but the monks' management
insisted they tone the theatrics down a bit. Read bass player Thos.
Edward Shaw's outstanding memoir, "Black Monk Time,” and you'll see
that the band fell apart in utter defeat, putting their failed attempt at
Rock stardom behind them. But unbeknownst to them, a monks revival
was slowly limping along in punk rock circles. No one really knows
where it began. Peter Zaremba from The Fleshtones insists there was a
bootleg copy or two floating around in New York City during the
CBGBs/Max's heyday, and that it turned up at parties. Eventually, Deb
On’air (Fuzztones) and the late Wendy Wild (Mad Violets, Peter
Zaremba's Love Delegation) put together the all-female Garage-Polka
band, Das Furlines, in the 80s, most likely, the first band to include
monks songs in their set; the Fall and Antiseen would follow their lead.
monk fever spread quietly, until the 90s, when Shaw's book, and two
reissues of the monks' album on CD (one legit) intensified the buzz
around the band. Dave Day, still performing as an Elvis impersonator
(sometimes called "Elvismonk”) was the first to try to take advantage of
the situation. Jake Austen, our editor was supposed to meet with Day
(whom he'd met once before, at the group's first social reunion in
Bemedji, Minnesota, singer/guitarist, Gary Burger's, stomping, or should
I say hopping, grounds) at the Garageshock Festival in Bellingham,
Washington. Dave was tentatively scheduled to do some Elvis covers
with Southern Culture on The Skids. Jake got the word that Day had
already arrived, greeted fans and signed autographs. Jake asked a
Frenchman he chanced to meet what Day was wearing, to which hhe
replied, "HE HAD ON FOOL MONKS COSTOOM!!!” About the most
shocking news in Rock ‘n' Roll history leaked out a few years later, the
monks were scheduled to do two reunion gigs at The Cavestomp!
Festval in New York. It didn’t seem possible, but it happened, and it was
great! Dave, above all, thrived on the adulation ("Bathing in the love,”
Gary Burger called it), and could not conceal his excitement, being back
onstage with his fellow monks, and not having someone telling him
"NICHT Mach schau!.” You've never seen anyone rock out with
his...well, you read me...on the BANJO! As it happened, Dave turned
up, unannounced, at The Cavestomp the following year. But he wasn’t
on the bill, or even planning to do a guest spot. He just said that he'd had
such a good time, he wanted to come back and see some bands, and
especially, hold court with his fans. Dave was in his glory, visiting with
his loving fans, and telling stories about the early days. He'd waited so
long to see the monks become what he felt they always were, bonafide
Rock ‘n’ Roll stars. He looked so happy, so like the big kid he most
assuredly was, and that everybody loved him for being. At one point, he
told me (in that hyper-enthusiastic big kid voice of his..). "Hey, John!
The Troggs are here! You know, we used to play with them in The 60s.
Do you think I should go up and talk to them? Do you think they'd
remember us?” Somehow, I couldn’t imagine ANYONE forgetting the
monks, and as I'd met and interviewed The Troggs earlier that day, I
could attest that they were really nice guys, and that I was sure they'd
love to meet anyone they'd worked with, back then, I told Dave that he
should just go for it, despite his "But gee, they're ROCK STARS!"
hesitations. I knew it would be a meeting of legends AND regular guys,
all one and the same. I wish I could have been there, but I knew, pretty
much, how it would go down. A little later, I found Dave, all smiles, and
he said, " John! It was just like you told me! They were real nice guys,
and they remembered the monks!” Though he didn’t perform during that
festival, Dave's wife told me that, back home, he literally couldn’t leave
the house to go to 7-11, or something as trivial as that, without bringing
his acoustic guitar, because someone would always ask him to sing a
song. Though it took a while to work it out, the monks eventually did a
follow-up to the '99 show, some five years later, at the Vegas
Rockaround. Roger was dying of Cancer, but gave the band his blessing
to do the show with another drummer. Sadly, he passed away between
the Vegas gig and a subsequent show in Barcelona. When I saw Dave
again, in Vegas, he was in good spirits, but like the others, hurting for
his monk Brother, Roger. The monks, of course, were soldiers, and now

was the time to be strong, and put on the best show they could in Roger's
absence, which is what they did. I noticed that Dave had put on some
weight, and he volunteered that he had been put on a new medication,
which the Doctor warned him would cause him to gain weight. Dave
was considerably self-conscious about the change he'd undergone, and
told me that he wished his fans wouldn’t have had to have seen him like
that. I told him, and it wasn’t a put-on, that's not what people are going
to see when you get up on stage. Sure enough, when the show (another
triumph. Need I say?) was over, I ran into Dave's brother, who looks
almost exactly like Dave, but is noticeably more lean and muscular,
plus, he had a full head of hair. A young woman approached the brother,
and said, "Dave, I just wanted to tell you that was a fantastic show!.” As
in New York, I was able to spend some quality time hanging out with
Dave (though the monks were BESIEGED with merch hounds and
autograph seekers), particularly when my friend, Pope, and I got to have
breakfast with him, just before he had to leave for the airport. Pope, a
former Roadie for The Nervebreakers, insisted on carrying Dave's banjo.
Well, we both marvelled at what a cool guy he was, neither one of us
knowing that we'd never see him again. At least, not here.

MIKE SMITH - "They Had Some Cat Shouting The Blues..." I guess I
should be amazed that The Dave Clark Five were inducted into the
Rockn"'Roll Hall of Fame, as they really WERE a Rock ‘n’ Roll band,
but just as the frontmen with The Clash and The Ramones died only
months shy of being led down that same hall The Sex Pistols would
refuse to enter, The Dave Clark Five lost their lead singer, and the world
lost a powerhouse Rock n” Roll vocalist, just days before The DCS5's
induction. It's easy for some people out there to forget that there was a
time The Dave Clark Five could not be touched, cranking out hit after
hit, most of them rockers, with a few choice love songs for good
measure, and offering The Fab Four their only serious competition in
England (and The U.S., if to a lesser degree), until The Rolling Stones
finally got themselves together, providing The Beatles with the fierce,
but friendly, arch-rivalry they so desperately needed to stay in the game.
The DCS's cleancut image still puts people off to this day. Okay, so they
wore nice matching suits and favored white in the trouser department,
but so did Paul Revere and The Raiders, and God knows they should
have been inducted into The Hall of Fame a long damned time ago. Of
course, though the international groundbreaking smash, "Glad All
Over,” has a terrific "Pop" hook, it goes without saying that Pop records
are not supposed to be THAT LOUD! We're talking LITTLE
RICHARD LOUD! With a beat that sounds like 1000 Football
hooligans flattening as many coffee cans with their boots and a chanting
chorus that sounded like just as many rival team supporters trying to
drown them out. It was a rarity for a band, at that time, to be led by a
drummer, much less be named for one, but as big as the beat that Clark,
most assuredly, was putting down (or was he? It's been suggested, in the
past, that Clark's parts were played by a studio drummer, and judging
from the near-punk musical attack of his bandmates, in contrast to the
almost too-perfect drumming, there might be something to that). The
story goes that the untrained Five began life as a band to raise money for
Football uniforms (How apropos). Mike Smith, people are just now
figuring out, was the heart and soul of the group. Of course, he could
handle softer, more melodic songs with ease, but he excelled as the tuff
R&B shouter, and he pumped away at the mighty Vox Jaguar with a
vengeance. He was tuned into the same "If it ain't broke, don't fix it"
vibe that would make Sam The Sham such a big hit. The Tex-Mex
connection doesn’t stop there, though. Augie Meyers, from The Sir
Douglas Quintet, once told me that he'd heard The Dave Clark Five
before they'd had a hit in The U.S., and ordered the same model Vox Jag
that Smith used, from The Vox Company in England. While his
keyboard playing just accentuated an already hot and heavy beat, his
Blues-belting vocals really SOLD the songs. If you think Smith's
pumping organ sound and incinerating vocals did't have an effect on the
legendary Proto-Punk sound of The Great Northwest, think again. The
Sonics, The Kingsmen, Don and The Goodtimes and the early Raiders
were all coming from the same place. They were Britain's equivalent of
the American Frat Rock scene, as we know it today. But before Public
Image, Ltd., The Dave Clark Five was a company, and Dave Clark ran it

like one. No doubt the shrewdest businessman/rocker in his day, he
maintained complete creative control, and secured all publishing rights.
The group appeared frequently on The Ed Sullivan Show (Sullivan
reportedly said that they were the only English group he really enjoyed
having on his "Shew"). They also appeared in MGM's “Get Yourself a
College Girl,” in which they complemented The Animals surprisingly
well, and appeared alongside the likes of Freddie Bell, Stan Getz and
Astrid Giberto, Jimmy Smith, the embryonic Standells, and Nancy
Sinatra (in a non-singing role). They also appeared in their own,
ambitious, movie project, alternately titled "Having a Wild Weekend "
and " Catch Us If You Can.” The movie features some fine songs, but
the band is never seen performing any of them. The admittedly
formulaic DCS sound eventually wore thin with a changing musical
climate, and, the band finally called it quits in 1970 (!!!), after a string of
worthy leser-hits. Clark continued to put out records as "Dave Clark and
Friends" (and Smith still recorded with him for a time), and even
produced the all-star musical, "Time,” without Smith. Smith went on to
make a now-rare LP with Mike D'abo, former lead singer from Manfred
Mann. Many years later, he put out a strong collection of R&B
standards, the stuff he was born to sing. While Dave Clark steadfastly
refused to put the band back together for another go ‘round, even though
he'd reportedly been offered six figures, he really didn’t need the money.
Through wise investments, he'd already become a millionaire in his own
right. The properties he now owned included the legendary British Rock
‘n’ Roll TV show, "Ready, Steady, Go,” which meant that he owned
performances by, basically, every major English act of the Mid-60s.
Smith, on the other hand, couldn’t wait around for the reunion that was
never going to happen, and took to the road with the aptly named Mike
Smith's Rock Engine, armed with a kick-arsenal of DCS classics and
personal faves of his from the songbooks of Fats Domino, Little
Richard, Chuck Berry, and others. When he eventually made it to
Chicago proper, he was playing at The Abbey Pub, a venue where
performers associated with The 60s are not treated like Oldies acts.
There were older English people hanging on his every word, and the
place erupted into a raucous pub sing-along. But a ROCK ‘n’ ROLL pub
sing-along! He'd aged remarkably well, and looked in champion form.
Little did I know that I would be witnessing one of the very last
performances of his life. The tragedy that befell Smith, upon returning to
the road, was twofold. It turns out that, while he was touring the states,
Smith learned that his son, a Scuba Diver, was killed in a rescue attempt
on the coast of Egypt. Clark had to postpone some dates to return to
England and bury his son. I had no knowledge of this devastating
tragedy when Mike returned to fulfill his remaining dates, and,
eventually, play Chicago. Shortly after his American tour had ended, a
horrible freak accident took place. Smith had left his house in Spain,
only to realize that he's locked himself out. Using a ladder, he tried to
make his way into his own second floor window to procure the house
keys. He fell backward, however, and landed, two stories below. The
accident left him paralyzed from the neck down. He did try to make
arrangements so that he could attend the induction ceremonies, however,
he unfortunately contracted pneumonia, related to complications of his
injuries. Speaking as just a fan, someone who only had the pleasure of
meeting Smith briefly, I'm sure that I speak for a lot of people when I
say his demise comes as something of a relief. Those closest to him
must have wished, time and again, for an end to his suffering. He fought
hard, and for such a long time, after such an overwhelming incident had
cut short a career that was far from over. It will resume today, and
forever, as Mike walks down the real Rock ‘n’ Roll Hall of Fame, where
his name is etched in gold.

VAMPIRA - The most legendary Horror Hostess on Television was,
and remains, Vampira. In fact, she was one of the first, if not THE first,
Horror movie presenters, ever, on the ol’ one-eyed monster that
conquered the world...The irony is, her reign on TV was little over a
year, but her infamy lives on, today. Devastatingly beautiful, in or out of
makeup, Maila Nurmi played the original camp vamp for laughs,
making "poisoned" dry ice coctails, then drinking them, herself, and
promising the film she was presenting would make her viewers wish
they had some poison handy, too! She made friends with Lugosi in his

waning years, and, of course, appeared in "Plan 9 From Outer Space"
with him, but the two had no scenes together, as Lugosi died years
before the movie was completed. Other celebrity friends included
Marlon Brando, James Dean and Elvis Presley, but Maila was never one
to "Kiss and tell.” Regardless of what you've heard about Dean, it was,
in fact, a (rather macabre) scandal regarding he and Nurmi that would
put her career on ice. Reportedly, after James Dean died, Nurmi told the
press that she had been getting phone calls from him. Now, today, that
probably wouldn’t raise an eyebrow. It's the stable celebrities that will
probably soon be regarded as suspect. Vampira was suddenly off the air,
though Nurmi would appear, hardly to full effect, in B-movies like "The
Beat Generation" and "The Magic Sword" (in which she appears as an
ugly, old hag, wearing a rubber mask). In retrospect, Ed Wood was the
smart one, playing up her eerie good looks for what they were worth. In
the years that followed, Nurmi maintained a low profile. It would be
years before the classic Horror Hosts would be viewed as anything more
than an inconvenience to a medium that tried, but just couldn’t be taken
seriously as an art form. Ironically, it would be a Punk band that would
assist greatly in bringing Vampira up to the surface. The Misfits' song of
the same name, and their befriending Nurmi in real life must have
shown her that there was a new, younger crowd wanting to know more
about her. The Misfits' "Vampira,” however, was not the first time she'd
be honored in song. Future Country star, Bobby Bare, recorded a great,
spooky, Rockabilly song called "Vampira" in the Fifties. Later, still,
Satan's Sadists (featuring Jeff Satan from the legendary Waco Punk
band, the Uncalled 4, and, at one time, Candy Del Mar, later in The
Cramps) actually brought Nurmi into the studio to record a song. She
was, later in life, the Grandmother we all probably wished we could
have had. Like Ruth Gordon. A free spirit with an Artist's soul. Her
legend will grow in death, just as she raised the dead (and, most
assuredly, the living), when she graced the earth with her other-worldly,
ethereal, all kinds of beautiful, presence.

KELLY JOHNSON- While the Girlschool guitarist’s death was met
with great sadness by her friends and family, it probably wasn’t viewed
as a great shock...but here in the backwoods, where even bad news
travels slowly, I only learned of Kelly Johnson's debilitating illness
when a friend of mine had been informed of it by a friend of Kelly's,
who goes by the name of Lemmy. It turned out that Kelly had been
involved in a brutal struggle with spinal cancer for six years, and that
she hadn’t long to live. In two months’ time, she was gone.
Coincidentally, her band, the still-active Girlschool, were scheduled to
tour the states, with a date in Chicago, at roughly the same time, but the
British consulate, as they do with so many bands that DON'T suck,
basically entwined them in so much red tape the tour had to be
cancelled. Girlschool began life as an all-girl cover band called Painted
Lady in 1978, for which Johnson was a founding member. They quickly
made the move to original material, and, as Girlschool, made the
transition into The New Wave of British Heavy Metal movement and
toured with Motorhead, who took them under their wing like a little
sister band. The two bands even pooled their resources to record the
great "St. Valentine's Day Massacre" ep as "MotorheadGirlschool" or
"Headgirl,” for short, which included covers of Motorhead's " Bomber,”
Girlschool's " Emergency" and the instant classic, a no holds barred
version of Johnny Kidd and The Pirates’ classic, "Please Don't Touch"
(You can view a TV performance of it on YouTube). Like Motorhead,
Girlschool would prove to have crossover appeal, incorporating faster
tempos and punkish rhythms in their material than the usual "DUNT-
DUNT-DUNT-DUNT" dirge of Modern Metal. Like The Runaways
before them, they were difficult to pigeonhole, but this seemed to be the
idea from day one. The band toured Britain and the Continent, and even
the States. On their only major U.S. tour, supporting Iron Maiden and
The Scorpions, Girlschool were the odd girls out in more ways than one.
Not only was the idea of an all-girl Metal band (if you want to call them
that) not a welcome novelty to American Metalheads at the time, but the
fact remains that the group was only known in passing in The U-S.,
barring the odd bit of Rock press (Creem ran a doozie of a caption
below a live shot: "To Hell with The Go-Go's! We got the HEAT!!").
Johnson called it a day in 1984, but returned, after living in L.A. for 10

2 ee Ee nn meer ee

years, in 1993 (several members of the group have left, only to return
years later), staying on until the year 2000. After her health took a turn
for the worse, Johnson was forced to retire from performing. The
members of the band, past and present, remained close friends with
Kelly. An outpouring of love from former bandmates, and members of
the group who'd never actually played alongside Johnson, must have
surely given her life meaning, even in the most dire of circumstances.
Fans continued to send heartfelt messages, and still do, to this day. All
are surely in agreement that Kelly's battle has been replaced with an
eternity of peace and rest...Well, maybe not TOO much peace and rest,
after all, Kelly has a LOT of friends to catch up with, and they say God's
amp goes up to "11.”

ALLAN MELVIN - When you hear the name Allan Melvin, it may not
register. But when you see that MUG, you're sure to say, "Oh, yeah! I
LOVE that guy!” After a short stint in Radio and Theatre, Melvin's
almost exclusive career in Television began on one of the greatest
sitcoms of all time. On The Phil Silvers Show, Melvin appeared opposite
Harvey Lembeck (later "Erik Von Zipper" in the "Beach Party" movies)
as one of Sgt. Bilko's henchmen. Melvin appeared one of the other
greatest TV comedies, playing a heavy on several episodes of "The
Andy Griffith Show.” From there, he went on to do the voice of Magilla
Gorilla, perhaps the most beloved of the Hanna-Barbara "Second String"
cartoon shows. Of course, one of his most celebrated roles was as "Sam
The Butcher,” Alice's Boyfriend on "The Brady Bunch,” a mle he
performed, more or less, back to back, with the part of Archie Bunker's
neighbor and pal, Barney Hefner, in which he really got the chance to
shine. Not only did Melvin moonlight as Al the Plumber in commercials
for Liquid Plumr, but he was parodied (I'm convinced) in the Cheech
and Chong routine, "Hey, Margaret..” A young couple is watching a
Porno movie, when a voice appears on the screen, "HEY, LADY! DID
YOU ORDER A PEPPERONI PIZZA?! WELL, HERE'S THE PIZZA.
AND, HERE'S THE PEPPERONI! (Zzzzip!).” If that wasn’t Melvin
they were spoofing, I'm not John. An exceptionally well-rounded
comedic character actor Allan loaned his talent to, literally, the greatest
sitcoms on Television. He deserves a lot more credit than he's received.
Others, recently departed, include (but are not limited to.) Bobby Byrd, Tom
Snyder, Freddie Bell, Theresa Brewer, Deborah Kerr, Big Moe, Nicky James
(Moody Blues), Pepsi Tate (Tigertailz), Michael Blodgett ("Lance Rock" in
"Beyond The Valley of The Dolls"), Ben Chapman (played The Creature From
The Black Lagoon), Roy Scheider, Marcel Marceau, Buddy Miles, Mikey Dread,
Evel Knievel, Crazy Ray (Dallas Cowboys! "Unofficial" mascot), Arthur C.
Clarke, Jeff Healey, The Maharishi Mahesh Yogi ("advisor" to the stars), Robert
Goulet, Paul Raven (Killing Joke, Ministry), Joey Bishop, Lucky Dube, Black
Shadow and Karloff Lagarde (both were Mexican Wrestling stars), Merv Griffin,
Laszlo Kovacs (cinematographer, “Easy Rider"), Boots Randolph, Robert Buck
Brown (created "Granny" for Playboy), Don Arden (managed Black Sabbath,
Small Faces, ELO, etc), Clarence "Tex" Walker (Drifters, Coasters), Mike
Wieringo (artist, DC comics), Leon Finney (Owner, Leon's Bar-B-Q chain,
Chicago), Tammy Faye Baker, Hilly Kristal (owner CBGBs), Linda Stein
(managed The Ramones), Aaron Russo, John Goldwater (Archie comics'
creator), George Osmond (patriarch, The Osmonds), Denny Doherty (Mamas
and The Papas), Tony Dangerfield (Screaming Lord Sutch and The Savages),
Jim Jones (Pere Ubu, Home and Garden), Tom Morrell (Bob Wills' Texas
Playboys), Alex Brown (Persuaders), John “Bam Bam" Lane (Bill Haley and The
Comets), Ingmar Bergman, Carey Bell, Sheriff Tex Davis (co-writer of "Be Bop A
Lula"), Don Ho, Frankie Laine, Brent Liles (Social Distortion), Barbara
McNair, Tom Poston, Max Roach, Oscar Peterson, Colin Winski, Larry "Bud"
Melman, Ian Wallace (drummer- Warriors, King Crimson, Steve Marriott, Billy
Burnette, Johnny Hallyday, Madonna, and....almost, the monks), Billy Thorpe,
Doug Meech (Chesterfield Kings), John Inman ("Are You Being Served?"), Zola
Taylor (Platters), Jimmy Dorsey, Jesse James Johnson (Bo Diddley sideman),
Doyle Holly (Buck Owens' Buckaroos), Randy Van Horne ("The Flintstones"),
Tom Dawes (Cyrkle), Billy Henderson Sspinners), Jimmy Porter (Hank Williams'
Drifting Cowboys), Liz Renay, Ruth Wallis, Jah Jerry (Skatellites). Pookie
Hudson (Spaniels), Luther Ingram, George Malone (Monotones), Mark Markush
(Wailers), George McCorkle (Marshall Tucker Band), Uwe Nettleback (Faust),
Paschall Parsons (Strikes), Chas Smith (Pagans), Stockhausen, and Dick "Mr.
Whipple" Wilson.

"Everybody wants to make it, nobody wants to try. Everybody wants to
see Heaven, nobody wants to die.” The Rev. J.D. Mangrum 3:8.

EEE EI

FLAMEN’

TIM
WAYMON ‘anc

pSDAYLE

NOTE: DVD AND PRINT REVIEWS NOW APPEAR
IN SEPARATE SECTIONS FOLLOWING MUSIC
REVIEWS AND PROCEEDING GUEST REVIEWS,
Acton “Presnojedi Blues, “Cemetaryland,” “Atonal
Progress,” Actoon “Cemetaryland 2,” “Totenbuch” (Slusaj
Nasglasnije, www .myspace.com/slusajnajglasnije)
Awestom!

Terry Adams “Love Letter to Andromeda” (Clang) This
NRBQ veteran forgoes R&B and his Q to record a solo jazz
opus that can’t help but sound N, even as it tackles some
classic themes and old technology (John Cage's distorted
“prepared piano” and a five octave celeste). Having worked
alongside both jazz geniuses (Sun Ra’s Marshall Allan
memorably collaborated with Adams) and amongst rock n
roll goofs, Terry can’t help make the out there stuff pretty
accessible. Thus, this wonderful CD sounds about halfway
between Cage and Vince Guaraldi. Imagine Schroeder on a
prepared piano!

Daniel Ahearn “Pray for me by name” (Riparian) A
musical mighty oak from this little Ahearn grows! Never
falls into singer-songwriter trough as technology, vision and
skillz always make him rise like heavy cream.

Lorez Alexandria “For Swingers Only” (Dusty Groove,
dustygroove.com) Holy shit! I have NEVER heard this 1963
record before, and I’ve never heard this Chicago songbird
sound like this. It’s not so much that it’s swinging as the
title implies. Certainly the flute is hot, but the vocals are
actually wicked cool. Her voice is deep, seductive, and
powerful, but she rarely pushes or goes wild, her best
moments are slow, steady and hypnotizing. And she gets
down on the mighty Memphis Slim number “Mother Earth,”
one of my all time fave blues-esque compositions, Her
phrasing reminds me of the few 1950s Sammy Davis Jr.
sides where he’s not impersonating anyone else. This is a
killer LP.

All India Radio “Fall” (Minty Fresh) Made me feel like I
was floating over a licorice and opium forest fire

Alone At 3AM “city out of luck” (Tiberius) Sound like this
and you'll stay alone.

Al Perry’s Clambake “South Slavian Rock Show” (Slusaj
Nasglasnije, www.myspace.com/slusajnajglasnije) A label
best of compiled by an American deejay. Slusaj bands never
clam up!

The Aluminum Group “Little Happyness” (Minty Fresh,
mintyfresh.com) Alum-hohum.

Kelly Alvarez “hesher boyfriend,” The Blondes “Summer
Van" (Teenacide, teenaciderecords.com) If I was a Disney
executive the first thing I would do with the Jonas Brothers,
or their replacements in six months, is give them the entire
Teenacide catalogue and lock them in a room for a week.
Because all the unforgivable sins of 90s pop punk that seem
to plague the Disney-fied model could be wiped clean by the
only label that seems to know what bubblegum and
Powerpop are supposed to sound like. These two summer
singles are great examples, and both wisely contain enough
drugs and sex to keep Disney away. I finally realize
Teenacide’s business plan (summer singles?): they want to
recreate the Bomp business model by presenting and
marketing the Nikki Corvettes and Stivs of the world as if
they could possibly be Top 40 stars, then failing, then
seeming cooler for the failure. I guess “business” model
isn’t the right word, but I sure love this label.

Amebix “No Tentacles,

Sanctuary” (Alternative

alternativetentacles.com) This reissues the pre-Alternative
Tentacles UK releases of the best not-Crass band in the
Crass and Co. genre. It’s amazing how progressive and
powerful these tracks are --- punk has taken giant steps
backwards in the 25 years since these were originally
recorded. Your purchase or non-purchase of this is the SATs
of poser tests....fail and you'll be at your punk safety school.

Andrija “Zar 1 ti, sine bildas?” (Slusaj Nasglasnije,
‘www myspace.com/slusajnajglasnije) Heavy!

Andy From Denver/Red Pony Clock split single,
Smittens/Tullycraft split single, Poison Control
Center/Ideal Free Distribution split single, Velcro
Stars/Keith John Adams split single (HHBTM,
hhbtm.com) Ahbhh...the indie pop singles club sub-sub-sub
genre! Let's not make any huge sweeping generalizations
about the bands. Not all of them sound alike; some are super
peppy (Adams) some feel a little melancholy (Poison
Control Center), and some just get plain clever (a 90s K
Records-style “My Boyfriend’s Back” by Tullycraft, which
is awesome). Some acts record slickly (Andy, Red Clock
Pony), some are middle-fi (Ideal Free Distribution), and
some still make raw sounding records in the post-Protools
era (Velcro Stars), But what all these singles have in
common is the ability to make you feel super cool for
owning them — you are in the club! And you deserve to be,
don’t let bullies tell you otherwise, record boy (or girl [or
undecided})! Tullycraft wins this multi-single battle of the
bands by actually singing about nerdy record collecting!

Eddie Angel featuring Pete Curry and his Orchestra
"Eddie Angel Meets Link Wray” (www.spinoutmusic)
Sometime in the very early Nineties, my friend Creagh, at
the legendary Round Records store in Chicago, offered to let
me go through his personal stash of 45s. In and amongst the
many gems was a single from 1979 by a guy named Eddie
Angel. I wasn’t familiar with him at the time, and my friend
didn’t remember what it sounded like, so we put it
on..."HOLY SHIT! THIS GUY SOUNDS LIKE LINK
WRAY!” Possibly moreso than Link himself was sounding
on his, admittedly good, comeback bids at the time it was
recorded. I found out, in a hurry, that this new band I knew
nothing about, The Planet Rockers, was his current project,
and that he'd soon be working with Ronnie Dawson, who
was planning a (successful) home front conquest, while
Eddie (briefly) relocated to Chicago, planning his next
move, to hit the road with The Neanderthals and Los
Straitjackets, the latter started hitting the road with Link
about 10 years ago. However, in the liner notes to this CD,
we learn that Eddie and Link actually met in 1973, and
Eddie almost joined Link's touring band at that time. The
two did get together and woodshed a bit, and Eddie caught
the fever. There's always been a little bit, OK, a LOT, of
Link Wray in Eddie Angel's super-potent guitar brew, so, it
only seems natural that he would pay homage to his fallen
friend and mentor this way. Eddie doesn’t stray too far from
the formula here, maintaining that crisp, echo laden sound
of Link's best Epic sides, that are, at once, clear as winter
ice, and nasty as summer stench. Making this CD is a labor
of love, obviously, for Angel, and he doesn’t let the master,
or his fans, down. Pete Curry, whose regular gig is as Los
Straitjackets’ bassist, but has a wildly varying musical past,
dating back to the time he played in Tingle Guild, the first
Chocolate Watchband offshoot band (and even drumming
for one gig with The CWB!), and almost joining Skip
Spence's post-Moby Grape performing group, does triple
duty on bass, drums and piano, and maintains that "Garage
band in a real studio” feel that Link had perfected all those
years ago. Deke Dickerson joins the party, so you can hear
my man a-wailin' sax (but when are Deke and Eddie gonna
do a two guitar, take no prisoners LP?). For this album's
many pleasures, like a gritty, fast-movin' "Black Widow,” a
killer "Comanche" (admittedly, that's a hard song to fuck up,
but I've heard it done), a great send-up of "Batman" (minus
the "Batman, should I start the nuclear power for The
Batmobile?” rap. Maybe Iggy could come by, later, and do
an X-Rated remix?), and the (undeservedly) lesser-known
“Mustang.” Eddie really summons the spirit of Link Wray
on the album's closer, "Lynxtail,” an original, which dates
back to Eddie's first 45. Slashing, tremelo-fuzz chords, set to
a sinister "Rumble" rhythm, culminating in a Tsunami of
whammy bar chaos. The Wrayman has got to be smiling
big.

Anthem In (Quiet Loud, quietloudrecords.com) Awesome
In! This will make all your parts groove appropriately,

Antenna Shoes “Generous Gambler” (Shangri-La,
shangrilaprojects.com) I admit to being a little jarred when
this release from Shangri-La, the label/store/publisher that
has as much claim as anyone under 70 as being the heart of
Memphis roots music, proved to be blues/rockabilly/r&b
free. Instead this is just a collection of good assed music
that, while ont unrootsy somewhere deep down, is
comfortable exploring classic, contemporary, and futuristic

lush pop, and is willing to experiment like a kid with a
chemistry kit. Antennawesome!

Antietam = “Opus Mixtum” = (Carrot. —‘Top,
carrottoprecords.com) This is HUGE! Hours of songs, most
of which seem as expansive as a psychedelic sky. I can’t
believe this CD fit in my house it’s so big. I am definitely
Pro-etam!

AOG Media presents Vol. 8 (POB 3652 Victoria TX 77903)
Righteous Texan Jesse De La O leads another international
posse of rockers, including Canada’s Hellrazer and Italy’s
Storms of Damnation. Careful with all these Devil bands,
Jesse, it might be the Great Deceiver trying to rock you to
the dark side, But as long as you can write songs like “Death
Angel’ it’ll never happen.

a place to bury strangers (aplacetoburystrangers.com) If
you had to become a New Order cover act, but you had to
do it only with descriptions of New Order, having never
heard the music, you would be blessed by Zeus and Odin to
come up with something as awesomely never-heard-New
Order-New Order-cover-band-ish as this!

Archer “DoomSday Profit$” (archernation.com) Hair Metal
revivalists prove that dated metal is timeless and awesome!

Dorothy Ashby “The Rubaiyat of Dorothy Ashby” (Dusty
Groove America, dustygroove.com) Stomping with a pointy
toed Genie shoe between the corniest Middle Eastern
musical clichés and something strangely profound, this is a
weird record. It seems like it was a fun session, and during
the sometimes lengthy instrumental sections the cats really
let loose and catch deep grooves. But frankly, the singing on
this doesn’t compliment the music and I just did not dig this
album. She sounds like a green girl singing on Star Trek.

Astral “Sleepwalker”
awesomely astral!

(Vibraphone) Awestral...as in

Autogeni trening “previse” (Slusaj Nasglasnije) Strange
rock that rocks hard and rocks strangely. With some funked
up grooves thrown in for confusion’s sake.

The Autumns “Fake Noise From A Box of Toys” (World’s
Fair) They named themselves after the season, yet chose to
avoid said season's synonymous name Fall, because, of
course, The Fall is a good name for an interesting band.

The Awkward Stage “Slimming Mirrors, Flattering Lights”
(Mint) The Awesome Rage!

The Ax “Black Sea” b/w “The Zodiac” (Whoa Boat,
whoaboat.com) Ax-cellent!

David Axelrod “Seriously Deep” (Dusty Groove) I've
gotten my fingers dirty crate digging and I've never seen
this record, a strange bit of deep groove jazz funk that
sometimes tiptoes a bit on the smooth side but often
phlanges and freaks its way into the realm of the filthy.

Marvin Ayres “eccentric deliquescene” (Mandalic) Please
first note that I am extremely qualified to ascertain the
quality of cutting edge electronic classical composition.
Furhter note my review.: Whoa, this is cool!

Babilonci “Blatnjavi puti,” “babini lonci II,” “ko’ je ubio
satana?” (Slusaj Nasglasnije,
www.myspace.com/slusajnajglasnije) Babilicious! An art
rock jam band attacking me in Croatian!

Baby Dee “Safe Inside the Day” (Drag City, dragcity.com)
Do you know that some people gave a bad review to this
album? Are they out of their fucking minds? What more
could you possibly want? Unboring, cliché-free, completely
original, melodramatic, _virtuostically performed
harp/piano/accordion art torch music that mentions lots of
food. This is perhaps the best album of the year, and Dee is
so magnetic and magnificent that I am officially never
reading another review by anyone who slammed this
masterpiece. Baby Dee is the greatest transgendered giant
tricycle riding poet the world has ever produced!

The Babylonians “the baby lonelians (Slusaj Nasglasnije)
Transylvanian Reggae!

Baby Loves Hip Hop ~ The Dino 5 (babylovesmusic.com)
So the Dino 5S are a dinosaur hip hop group for kids and this
is their origin story, and despite being for 5 year olds, it is

‘one of the best hip hop records of the year. First of all,
Charlie 2Na’s deep voice and flow sound a lot more
condescending and juvenile on Jurrasic 5 records than on
this, and Lady Bug from Digible Planets is the girl dino, and
there is a dino beatbox (Scratch of the Roots) and Prince
Paul is involved, yet this story is more cohesive than his
great Prince of Thieves LP. Plus, this introduces to children
the concept of insult battles. What more could you want?

The Backsliders “You're Welcome” (backsliders.com)
Rock ‘n’ Soul with some slick pop sheen that flirts with
retro-isms, but ultimatelymanages to infuse some grit and
groove via the frontwoman’s charismatic talent rather than
by faking juke joint/lo fi/scratchy 45 clichés.

Balans “Nestajuci obrisi u vodi" (Slusaj Nasglasnije)
Sounds like music fish would like.

Beangrowers “Not in a Million Lovers” (Minty Fresh,
mintyfresh.com) Bean there, done that.

Bearsuit “OH:10” (HHBTM) Genuinely clever,
ridiculously catchy super hits that made me love bears more
than I already do (and I have been detained for loving bears
too much multiple times).

The Bedsit Infamy “lungs, my heart. blood, my stomach.”
(Banazan, bedsitinfamy com) Bedsit Infinitely catchy! Indie
pop that snaps, crackles and pops.

Jorge Ben “Forca bruta” (Dusty Groove America) This is
one of the essential Brazilian LPs, arguably the most
important reissue Dusty Groove has yet released. The great
Jorge Ben is bringing American recording and arranging
ideas to Brazilian music just as Jamaicans brought Motown
to their Island music. The major difference here is that Ben
seems to be bringing a bit of Nelson Riddle lushness in and
thus, despite being supported by Trio Mocoto, gods of
Brazilian music, their signature squeeking cuica sound is
drowned out by strings and layers of sound. Yet their vibe,
and the Brazilian percussion, song structure, phrasing, and
magic are all intact. You will be moved.

The Better Beatles “mercy beat” (Hook or Crook,
hookorcrook.com) This reissues and supplements a 1980 lo
fi new wave 45 by a band of Omaha pranksters covering
Beatles songs with disdainful admiration (or vice versa).
Awesomely stupid, the original single “Penny Lane” b/w
“I’m Down” has an A-side that seems to be making as much
fun of new wave clichés (bored, fake English accent vocals,
rinky dink keyboards) as it is belittling the Beatles — this
could be a Steve Allen skit! The B-side is better, a less
novelty-ish call and response arrangement that a Beatles-
basher could reasonably call an improvement. But it’s the
eight unreleased tracks that make this absurdity worth
shelling out the shekels for; “Lady Madonna” with
monotonous carnival music keyboards, a drearily minimalist
“I Get By With A Little Help By My Friends” (and by
minimalist I mean almost non-existent) and a brilliant and/or
idiot Marty Robbins/Beatles/polka hybrid. Maybe not better
than the Beatles (maybe) but certainly better than what you
were doing in 1980 (and yes, I’m aware Nancy Reagan and
Angus Young read Roctober).

Big Bang “Wild Bird” EP (Grand Sport) Big Bad.

Bill Bondsmen “Swallowed By The World” (Dead Beat,
dead-breat-records.com) Trash rock meets classic hardcore
and the fight is ugly and impossible to take your ears off of.
This is brutally awesome.

The Billionaires “Really Real For Forever” (Too Soon) A
billion times better than your pop band!

Martin Bisi “Sirens of the Apocolypse” (BFR) Huh?

Black Fortress of Opium (blackfortressofopium.com)
Black Fortress of Boringness.

the black watch “icing the snow queen” (Eskimo,
blackwatchmusic.com) If the term “icing the snow queen” is
equivalent to the “save the drama for your momma,” then
John Andrew Frederick should not take that advice, because
this mopey, yet somehow hooky, drama is fierce.

Karl Blau “am” (Whistler, kelpmonthley.com) Blaued me
away! A psychedelic soundscape about Winnie the Pooh's
God of Creation, A.A. Milne, which I couldn't follow in the
rock opera sense but that I did digthoroughly, in that it

made my ears so fat with the honey of great audio that I
couldn't get out of Rabbit's hutch.

Bloodshot Bill and The Firejacks "Full Blast" (Sin
Records) Everyone's favorite exiled One-Man Band is back,
but this time, he’s got help. One listen, and you might say,
"He needs help!” Aided on one side by Johnny Montreal,
who plays standup bass like he's fending off an army of 80s
Neo-Rockabilly enthusiasts. He more than makes up for the
lack of a drummer, using his bass as a percussive instument.
It was good enough for Elvis and Charlie Feathers, it ought
to be good enough for you. Bloodshot Bill turns in his usual
hot n” homy performance, sounding alternately like
Feathers and Linda Blair in "The Exorcist.” Nice spooky
incidental echo in this rough, but full-sounding recording,
cut live at Montreal's Sin Studios (which sounds like the
attic of The Bates Motel). The "B" side, recorded at The
Two-Timin' Shack (sounds like a Russ Meyer film) in
Austin, two years ago, before Bloodshot Bill's expulsion
from The U.S.A., is a considerably cleaner-sounding affair,
but guaranteed to offend someone. The Firejacks (aka The
Two Timin' Three) do a straightforward job, with no excess,
behind the Quebecois Quasar, though it is a little strange to
hear him playing with a guy who sounds like he actually
hangs out in guitar stores. Instead of playing guitar, himself,
Bloodshot Bill lays down a thick and heavy beat, and
theband responds in kind. I know it ain't Kosher to dig wild
and frantic Rockabilly, when there's so much watered down,
soulless stuff to choose from, but if you love Rockabilly that
gets mental (and I'm NOT talking about what passes for
"Psychobilly" these days), this is what it's all aboot! Now, as
of this writing, Bloodshot Bill's status has not changed. He
is still banned from performing in The U.S.A. for four more
years..... BUT consider that possibilities.....an entire concept
album written around his struggle..."2012"!!!

The Blondes “Summer Van" (Teenacide,
teenaciderecords.com) (SEE KELLY ALVAREZ)

5
ANS
——
1 ae
Blue Avengers “Chasing Rainbows in the Dark” (Blue
Muze) These Avengers are a mellow adventure!

B-Movie Rats “Radio Suicide” (Rankoutsider,
rankoutsiderecords.com) If you siphoned all the whiny shit
you can’t deal with from classic rock radio and just left the
early-70s ass-kicking stuff, then you and friends listened to
that station for a month straight without sleeping, you would
make music that sounds like this.

Bonnie ‘Prince’ Billy “Lay Down in the Light” (Drag City)
This dude has more genius in the crumbs in his beard than
you have in your whole body! Unless you are Jerry Lewis,
David Alan Coe or Prince (who all have Roctober
subscriptions, by the way). And I should point out both that
I actually do love this album a lot, and that this dude has
very few crumbs in his beard.

Boom Jay “State of Mind” (boomboomentertainment.net)
Low key party rap that delivers with a steady, Caribbean-
influenced flow. A sonic Boom that rocks the room.

The Boroughs (theboroughs.net) Classic punk so not boring
they should be called the Excite-oughs

The Boy Bathing “A Fire To Make Preparations”
(theboybathing.com) Indi rock meets Shel Silverstein. For
some reason remnds me of an Afterschool Special.

Boys Club “2-D World” ep (Bachelor 5421 Adnet 186,
Austria) Bratty powerpop/punk that is as close to as perfect
as you can get in this snotty genre (miraculously somehow
making all Fat Records/Green Day poppunk magically
disappear in less than 6 minutes!).

Breech “tarnish and undress” (breech.net) Should be called
Areech because when this ambitious cabaret weirdo genius
band reeches they get a solid “A”!

British Sea Power “Do You Like Rock Music?” (World's
Fair) 1 “Sea” the future!

The Broken Letters “Sing The Burning Alphabet” (Bent
Nail Foundation) I got four letters, unbroken, for ya: B-O-R-
E.

Brother Noyze the Mad Musician “Feel This”
(hardkandyrecords.com) So underground I could only listen
to this in the sewer, and the acoustics down there were kinda
bad, but as best I could make out, this is progressive soul so
progressive that I got lost. In the sewer.

Buckethead “From the Coop” (Avabella) It's one of rock's
basic laws that far too few musicians, critics and theorists
understand: Any musician improves exponentially by
wearing a creepy mask and a fried-chicken bucket on his
head. So far only the mysterious Buckethead has figured this
out, and that's why he became the master of truly tasty
guitar wankery. Since emerging in 1992 as a solo artist on
John Zorn’s Avant label and as a member of Bill Laswell’s
progressive-funk collective Praxis, Buckethead has released
dozens of albums and worked with virtually everyone,
wowing guitar nerds with a synthesis of extreme shred-ery,
funk grooviness, whiplash thrash and avant-garde pickin’.
But his latest release goes egghead, as it features a set of
archival demo recordings made for a Guitar Player
magazine editor in 1988. In addition to showcasing brilliant,
magic-fingered shreddery that provides insight into his teen
talents, the liner notes spin a long overdue tale of being
raised by chickens.

Buckra “Camouflage Playboys International” (buckra.com)
Fuckyea!

Burndowns (Big Neck) Bludgeoning Boston-style bar-core
that mad eme stupider, but not neccesarilly unhappy to be
stupider.

The Bush "Got BUSH If You Want It" (UT Records PO
BOX 4121 La Mesa, CA, 91944 www.ugly-things.com)
Don't be put off by the title. The Bush were a Southern
Californian Garage band, best known today for the covetous
45, "To Die Alone,” which features Glenn Campbell of The
Misunderstood on some crazed steel guitar runs. The band
moved up the ladder pretty quickly, recording at Capitol and
even opening for The Rolling Stones in San Bernadino. The
liner notes, penned by Mike Stax, don't try to paint a picture
of The Bush as a particularly exceptional band, but, rather, a
group that had great chemistry, and a rawness (Stax will
have my head for using that word) that even the most mid-
tempo Folk-Rock number can't get around. Diamonds in the
rough, it all came together in the superb, Kim Fowley-
produced "To Die Alone,” surely a perfect punk record. But
fame and acclaim didn’t get them too far past their own
backyards (though there were some BABES in their own
backyards). The more commercial "I Feel Good,” influenced
by the lesser known English bands of the day, could have
been the hit that "To Die Alone " never was. The group's
best-known song, barring "To Die Alone,” was the happy,
jangly-sounding " Who Killed The Ice Cream Man,” which,
for it's use of cartoonish voice-overs, screams, and self-
made sound effects, turns out to be an obscured reference to
‘The Vietnam draft, a good three years before The MCS did
the same thing with "The Human Being Lawnmower.” But,
if you like it rough, you're riding bareback with an almost
unrecognizable "Its Alright" by The Kinks, The Stones’
“What a Shame,” the great original revenge rocker "Gonna
Treat You Bad" and the screamin’ and spittin’ "Sit Down,
Shut Up (Don't Talk),” another original, though it borrows

EEE OO

heavily from "I'm Cryin by The Animals, but it's over 30
seconds before " Talk Talk.” You've gotta love a song called
"Mel's Truck Stop,” and this original is a slashing
guitar/harmonica instrumental, like a drunken beer run that
starts on Whittier Blvd. and ends with a crash at 2120 S.
Michigan Ave. Another highlite is a savage reworking of "I
Ain't Done Wrong,” the Billy Boy Arnold song that was
considerably punked up, already, by The Yardbirds (it's
credited to Keith Relf, here), but The Bush send it to Hell
and back. The Bush epitomized an era, in those pre-
Psychedelic years when time, and naivete, was on
everybody's side. Want to read The Bush's whole, amazing
story? You'll have to order Ugly Things #24. Ah-ah, my
Brother! You'll have to get your own.

Candygram For Mongo (candygramformongo.com)
Sounding somewhere between your friend’s band (that you
have to go see but start to dig) and some kind of awesome
L.A. hotshot pro-rock band where every player has super
hot chops, this is a very comfortable CD to listen to. Unlike
their cinematic namesake, no bombs hidden within this box
of goodies.

Chakachas “Jungle Fever” (Dusty Groove America) You
have heard the title track here, it was a US hit and was
sampled on Public Enemy's “Cold Lampin’ with Flavor”
and it's in a2 Live Crew song, and probably a bunch more.
It’s a faux-Latin (Les Chakachas were Belgian) groovester
with faux orgasms as lyrics, While any orgasm vocal song is
always a favorite, I think it’s fair to say that it is considered
joyful by not completely a novelty — despite their
reputations for being silly at times neither Gainsbourg nor
Morodor were treated like Dr. Demnto material when they
broke through in the US with their climax cuts. So it was
very interesting to hear the rest of this album, which while
far from a novelty record, is totally playful, and almost
goofy. Brass arrangements are kind of absurd, vocalists sing
in near Chipmunk squeaks, and everyone seems to want to
amuse themselves as much as they want to make you move.
Don’t get me wrong - -the groove is tight and “serious” in
the sense of being functional funk, but it should be duly
noted that it is also fun functional funk.

Courtney Chambers “bigger and brighter” (RDR,
myspace.com/thecourtneychambersband) Courted _ the
chambers of my heart! What an alluring voice!

Don Chambers and Goat “Zebulon” (Warm) Chambers of
Waits-ian American Horror! Or maybe American Beauty,
couldn't tell, but it scared me.

The Chap “Mega Breakfast (Ghostly International,
ghostly.com) You will be torn between the joy that brilliant
dance music inherently provides and the melancholy that
comes both from encountering genuine weirdness and from
realizing Chap are more genius-y than you'll ever be.

Charlatans UK “You Cross My Path” (Cooking Vinyl)
Best Charlatans UK record ever — these just soubnd like hit
after hit. If the record industry still existed it would be
falling all over this!

Cherkezi “United” (Slusaj Nasglasnije) 1 admittedly don’t
know much about traditional Croatian folk music, I'm no
Peter Margasak, but this sounds like a hard rockin’ rocker
drawing on trad drinking and gathering tunes. The Croatian
Pogues!

The Chief Smiles “Great For Terrible Times”
(thechiefsmiles.com) I too smile, And am rocked. And am
grooved.

Children of the Sixth Root Race “Songs from the Source”
(Drag City) Some archival releases have incredible stories
behind them and some just sound great. The story behind
this may slightly edge out the audio, but only because it’s a
hell of a tale. The Source was a community/health food
restaurant/"cult,” if you must, in Los Angeles that began in
1969 when ex-Marine and would-be-Tarzan movie actor
Father Yod opened a popular restaurant that provided a
home base and a source of funding for what would become
an ambitious, flowing robe-clad spiritual community. You
may know of them because Sky Saxon was a member,
which lead to a recent massive Japanese box set of the
group's psychedelic recordings. Oh yes, did I mention they
were into the power of spreading their message through
music? They recorded quite a bit, but with this release we
learn that Father Yod decreed that improvisational
explorations were the way to go only after the group had

delved into more traditional compositions. This was made
possible because a talented songwriter, Djin Aquarius, had
become part of the group. In 1973 he was part of The Spirit
of "76, a band that was using the upcoming Bicentennial to
spread a message of spiritual patriotism, and to wam of the
impending nuclear holocaust. They performed a suite of
songs in a concert at the Whisky a Go Go that combined an
R&B groove with some upbeat Gospel elements and a
healthy dose of the rock musical vibe that had ruled the
roost in the wake of JC Superstar and Godspell. After the
group went psyche (which allowed the less musical Yod to
participate more; on the tracks I’ve heard of the psyche stuff
his spoken teachings were the vocals) this phase was
forgotten, but apparently not last completely. Apparently
Djin had visited Chicago at some point and for some reason
lost to history left a tape of some Source recordings with a
member of Little Boy Blues (one of Chicago's best garage
bands, they did “Great Train Robbery” and “I Can only
Give You Anything”) who found it in 2006 in his mom's
basement. Weirder still, when they played it they realized on
the other side of the tape they had recorded a rehearsal for
the Whisky show. And keeping the Chicago vibe alive, Drag
City now releases the rehearsal tapes of this amazing show.
If you are the kind of thrift store shopper who buys every
vanity press 60s and 70s release you find by high school
choirs, church groups and teen bands this definitely recalls
the do it yourself rock musicals such groups were trying to
put together at the time. But something about the
professionalism of the songwriting, the conviction of the
singers (even though it was just a rehearsal, they are
believers, so even the background affirmations sound
wholehearted) and of course, the messages of hope and
brotherhood (and Armageddon), really resonate. And, not
surprisingly , the photos in the booklet justify the purchase.

Chin Chin (Definitive Jux) Should be called Din Din,
because this would be the perfect music for me to put on in
the background for one of my super cool sophisticated
hipster dinner parties. Or it would be if I had any friends. Or
any food.

Chris Barber Presents...The Blues Legacy” ‘Lost &
Found’ Series (blueslegacy.net) Barber, an English
bandleader, unearthed some amazing blues recordings from
the late 50s and early 60s from his radio show. Although
volumes 2 and 3 feature the biggest names (Muddy, Wolf,
and the underrated Otis Spann), everything that’s right and
wrong with this series can be summed up in disc 1. In the
first set we get a live show by the incomparable Sister
Rosetta Tharpe, and any recording by her is a landmark,
right? But you've never heard her being as showbz as here,
presenting African American Christianity as a sideshow for
the English. And for many of the numbers she’s supported
by Barber's not quite musically appropriate big band. And
when she plays solo THEY FORGOT TO PUT A
MICROPHONE ON THE GUITAR! The woman whose
electric guitar wails invented metal has her axe unrecorded?
Still, for all its flaws, this is a fascinating listen. And
following it up is an amazing set by Sonny Terry and
Brownie McGhee (who are also on vol. 2) Now that duo
obviously knew how to play to a white “folk” audience, and

they deliver a sublime blues set, with tasteful harmonica
tricks and an incredible survey of American music. This is
as good as almost any of their recordings. That said, I
wouldn't get these if you need to hear the quintessential
records of any of these artists. But for the historically
minded these are treasures.

Cine “Ponasanje” (Slusaj Nasglasnije) Made me thinc.

Cinder Road “Superhuman” (cinderroadmusic.com) A well
traveled road.

Colour Revolt “Plunder, Beg, and Curse” (Fat Possum,
fatpossum.com) Blazing Dirty South rock n roll that makes
ground pork out of indie and alternative bands. Structurally
sound meaty magic!

Colorstore “Bonefish: The legend of Mahogony Cass”
(colorstore.net) You can hear the colrs --- and not in druggy
way, bt in a musical genus way. These songs could be on
Sesame Street!

The Come n’ Go “Something’s Got to Give” (Voodoo
Rhythm) Come here and kiss me and go dance!

Bill Cosby “presents Badfoot Brown and the Bunions
Bradford Funeral and Marching Band (Dusty Groove)
Though Cosby recorded and oversaw a number of vocal
albums which ranged from LA funk to novelty parody to
jazz to kids music, this is certainly his most musically
magnificent album. | would recommend buying it for the
liner notes alone, as his lengthy heartfelt explanation about
why he felt it important to perform his stand up the night of
Dr. King’s assassination and his subsequent feelings are
fascinating to read, and provided the inspiration for the
intense, slow, but not moumful, ever-building epic called
“Martin's Funeral.” The percussion on this, plus Cosby’s (?)
keyboards and the weird sounding brass and guitar playing
completely convey a sense of mixed emotion. And this thing
builds and builds INTENSELY! The second track, the 20-
minute epic “Hybish Shybish,” is just an incredibly
powerful psyche-funk-scramble that will blow minds. Cos
apparently is playing keyboards here, too, and he’s doing a
hell of a job. Everyone solos and experiments and explores
on this one and it isa wonder

Crushed Stars “gossamer
simulacrarecords.com) Crashed Bores.

days” (Simulacra,

Cry Blood Apache “Northern Travelers” EP (Ghetto
Pagoda) This is like Mad Max post-apocalypse rock n roll
that seems futuristic and cavemanish at the same time. But it
also has a lot more intense yearning emotion than Mad Max
and his pals demonstrated. Ad it mentions a three-legged
rabbit. This dude really gets into my spine when he sings,
and every song has such an ominous, driving presence.
Frighteningly good.

Culture VI Records, Inc. “Elite” (culturevi.com) An East
Coast hip hop collective witn decent production, and on
point rhyming. Juganot isn't fancy, but he has personality
and presence. Also, these emcees each have distinct voices
and timbre and tone and styles so this is the rare big group
of rappers that makes it worth it to have a half dozen dudes
on a track.

Daily Void “Man/Machine” ep
floridasdying.com) Sick good!

(Florida's Dying,

Danielson: a family movie (HVE) A fascinating look at
one of the quirkiest, most ambitious, Christ-lovingest art
rock acts ever assembled. See Brother Daniel submerge
himself in art school and emerge as the only truly avant
garde Christian indie rocker. See him as a singing tree! See
his beautiful sisters in nurse outfits! See Sufjan steal his
shtick! See indie rock fans try to justify liking a Christian. A
genuinely engaging movie about one of the only Magnet
magazine acts worth listening to the story.

Rick Danko “Times Like These” (Breeze Hill) Danko’s
final musical endeavor involved assembly a classic rock
supercrew (including Levon Helm and Joe Walsh) and
somehow making them play music that makes Kenny G
sound like G.G, Allin. Hey, that would be a good band,
Kenny G.G. Allin!

Dead Child “Attack” (Quarterstick,
quarterstickrecords.com) I'm willing to admit that I was
initially attracted to the novelty of a metal band that

absurdly started off as a Slint side project. Of course, the
fact that guitarist Dave Pajo has never chained himself to
Slint’s cerebral re-boot of rock, and that his Dead Child
collaborators Todd Cook and Michael McMahan were
reunion tour members of Slint, not founders, does make the
novelty less novel. Which leaves us with the music.
Traditionally, the indie rock embrace of metal has either
latched onto the extreme inorganic intensity of death/black
metal (Flying Luttenbachers) or the opposite stoner-sludge
aesthetic (the countless Kyuss/Desert Sessions bands). And
on the rare occasion that a band nods toward the more
straightforward N.W.O.B.H.M. (New Wave of British
Heavy Metal) sounds of Judas Priest or Iron Maiden, it
usually is done with a wink (albeit a sincere wink
sometimes, as with Dave Grohl’s Probot). But the beauty of
“Attack” is that it is joyously unironic: This album is
Venom-ous, Testament-al and Priest-ly without being
parody or in-joke. Made up of what we assume are
Louisville, Kentucky, scenesters, the group’s secret weapon
is vocalist Dahm, whose perfect metal phrasing, particularly
his Halfordisms on the chorus of “Angel of the Odd,” is
devil-icious. Also nice is Tony Bailey’s drumming, which is
relatively low key and straightforward, driving these
anthems along rather than showing off. What it ultimately
comes down to is that, while Dead Child might have been in
the middle of the pack had it emerged in the "80s, you are
certainly not going to bang your head at a hipster club to a
much better band than this. Indian headlines.

The Deathset “Worldwide” (counterrecords.com) The
Bestset! Lo-grade quirk dance robot grooves that made me
fondie my Roomba.

Death to Anders “Fictitious Business” (D2A,
deathtoanders.com) Life to Indie-ers! Cause they are indie-
er than you will ever be in your life.

The Dells “Dionne Warwicke’s greatest hits” (Dusty
Groove America, dustygroove.com) Worshipped as gods I
Chicago, and still n possession of some of the best singing
voices in vocal group history, the Dells were recording some
genuinely compelling work in the 70s. This is pretty good,
but not their best, as Bacharach stuff is stellar but you would
rather hear Dells approaching a different kind of churchy
dynamics. Definitely an enjoyable listen, however.

The Demonics “Hot Rod Pussy” (Alien Snatch) Hellified
happy music that makes drag racing, satanic sex and car
fetishes seem wholesome. This is the Beach Boys without
parental supervision.

Destination: Oblivion “Winter Solstice,” “Hardwired”
DVD (myspace.com/destinationoblivion) So futuristic that I
only listen to this in my Matrix clothes! Obliviawesome!

Destroy All Monsters “Live in Tokyo and Osaka”
(Compound Annex), Monster Island “Dream Tiger” (The
End Is Near) In 1996 Destroy All Monsters lit up Japan with
prog rock and garage rock covers and genuine weirdness.
Meanwhile, back in the states Monster Cary recorded a
monsterpiece with Monster Island that actually sounded like
monster music and was about monsters and was really,
really great. We are lucky to have these albums

Destructors 666/White Clouds & Gunfire split CD
(Caveat Emptor) Destructors 666 continue to showcase their
brand of extreme pub punk on more split CDs, this time
with the grating pop punk of White Clouds & Gunfire and
the more impressive raw punk of Dirty Love. The Dirty
Love split features a Destructors cover of “Chinese Rock!”

The Details “Draw a Distance. Draw a Border.” (Parliament
of Trees, parliamentoftrees.com) The DeTerribles.

The Detroit Cobras “The Original Recordings singles and
unreleased 1995-97" (Munster, munster-records.com) Not
as wild or nasty as I remember them live at the time these
are actually clean, groovy, quality recordings that I have not
heard since their heyday. Looking back, this was a pretty
good garage blues band with some torch lounge tendencies.
And with bite!

Devotchka “A Mad & Faithful
Devawesome!

Telling” (Anti)

Dianogah “ghnnnl” (Southem) DiaYESgah!

Rob Dickinson “Fresh Wine For the Horses” (Sanctuary)
Catherine Wheel singer makes you love life.

Diplomats of Solid Sound featuring the Diplomettes
(Pravda) Find a reason not to worship this record and I will
refute it faster than Jesse Jackson Jr. putting down his father
to suck up to President Barack. Ultra soulful funky jazz that
gave me amnesia regarding the embarrassing lounge craze
of the 90s. If you don’t enjoy this you are going to have to
get something adjusted.

The Dirtbombs “We Have You Surrounded” (In The Red)
Operating in a trash/roots/lowbrow genre in which the idea
of being progressive is almost oxymoronic Mick Collins has
somehow maintained the grit and ugly of his mighty band
while crafting a powerful, challenging, crazy-ish gem of an
album. In the past the Dirtbombs thrived on energy and the
quantity of decent work, but this album is a huge stomp
forward in quality and ambition. Including covers by Sparks
and Dead Moon make it clear the kind of legacy the
Dirtbombs have in mind.

Dive Bar Stalkers “Rock the House” (divebarstalkers.com)
They are not lying, this is genuine bar rock, and not just one
kind, they do country blues harmonica rocking, hard
rocking, and even feel good sax honking classic grooves. So
if you empty a few longnecks this will quickly be your fave
band.

DJ Scott Egg “Drumized” (Load, loadrecords.com) Even if
you have the crazy legs and an aneurism you will not be
able to properly dance to this monster of a masterpiece.
Egg-ceptional!

Doctors & Dealers (Bluesong) Man, this Swedish damsel
can sing and write songs really, really good. And I am in
love with her. Lo-Fi one-woman band stuff that doesn’t feel
cheap or lonely.

Thomas Dolby “The Sole Inhabitant” (Invisible Hands) Is it
too negative to say, upon enjoying this brilliant double disc
(a live CD from a Martyrs’ show in Chicago and a concert
DVD from Boston), “Fuck Moby! And Beck!” This is
where it’s at; a genius shamelessly embracing his eighties
sound while always seeming grounded in the 2080s.
Blindingly awesome.

Dragged By Horses “Deep In The Woods” (Highwheel)
Hardcore by sweethearts!

dr. manhattan (Vagrant, vagrant.com) Dr. ManHatelt!

Dropsonic “The Low Life” (Asceticrecords.com) Should be
called Dropknowledge because this schooled me in the ways
of poppy hard rock.

Liz Durett “Outside The Gates” (Warm) Now that’s what I
call singing!

Denise Edwards “Let Your Light Shine” (Olympic
Advantage) She sings like a mature angel!

T. Tex Edwards & Out on Parole "Pardon Me, I've Got
Someone To Kill (saustex PO Box 691356, San Antonio,
TX 78269-1356 www .saustexmedia.com
saustexmedia@aol.com) LONG before Country became
cool again, T. Tex Edwards was incorporating Country
themes with his earlier bands, The Nervebreakers (who are
back in the studio), Tex and The Saddletramps, Loafin

ee ....l..__ ree

Hyaenas, etc. Mike Buck (Drummer for The Leroi Bros.,
early Fabulous Thunderbirds, Teddy and The Tall Tops,
Doug Sahm, Roky Erickson, etc) had compiled several
Crazy Country and Rockabilly songs for Tex's perusal, but,
it was a tape called "The Rubber Room etc.” that, somehow,
got the gears in motion for the making of an all-Murder
Country album. With Buck on drums, as well as in the
Producer's chair, a task he shared with Leroi Bros/Tall Tops
guitarist, Joe Dickens (who plays guitar, bass, and even
banjo, here), a new version of Edwards’ earlier Honky Tonk
from Hell band, Out on Parole, was assembled, with pedal
steel maestro, Marty Muse, Bassist JJ. Barrera, and
guitarist, John "Johnny X" Reed (who's performed and
recorded with Roky and Sir Doug) rounding things out.
Tex's sinister, foreboding, yet, somehow, good-natured,
stage persona (Otis O'Toole meets Otis Campbell) was the
perfect vehicle for a collection of beloved Murder Country
favorites. What makes these songs work, in Edwards’ hands,
is that he doesn’t just sing them, he BECOMES them. The
most obvious example would be the Leon Payne/Jack Kittell
classic, "Psycho,” popularized in The 80s by The Beasts of
Bourbon and Elvis Costello, though the definitive modern
version is contained right here. " L.S.D. (Made a Wreck
Outta Me)” And "Strangler in The Night" (Boston Garage
faves, The Bugs’ tribute to Albert De Salvo, The Boston
Strangler. De Salvo was rumored, inaccurately, to have done
the recital on the original) are peppered with hallucinogenic
studio tricks, while Tex goes off on flights of illusion, to
show you the inside of a psycho killer's mind. "This stuff
KILL ya!" Porter Waggoner's classic, "The Rubber Room,”
also gets the appropriate, warbly, treatment, like you're
listening to a man going slowly insane, with a reverb spring
in his cranium. Songs like "You Ain't Never Gonna Live To
Love Saturday Night Again" and "Beatin' On The Bars" (a
classic lament to jailbait, also covered a few years back by
Deke Dickerson) are more on the Rockabilly tip. Revenge
toons like "I'm-a Gonna Kill You" and Porter Waggoner's
"The Cold, Hard Facts of Life" speak of betrayal and spell
out the murder plan. Tex plays it full fare like a straight up
backwoods psychopath, but not in a humorless manner.
Still, when you see him perform, he can really make these
songs come to life, then, ultimately, death, through his
sinister, brooding body language, his psychotic expression,
and his near-white irises as much as the commanding power
of his singing voice...he plays it like an actor (of rural
tragedies, and, sometimes, comedies). It's hard to believe it's
been nearly 20 years since this was originally released on
the groundbreaking Sympathy For The Record Industry
label. It was later picked up by New Rose on CD with some
bonus cuts that don't appear here, a situation that is rectified,
in part, by a previously unreleased track recorded with The
Affordable Caskets (great name!). Saustex has concurrently
re -released the sole CD by T-Tex Edwards and The
Swingin’ Cornflake Killers, who carried on in much the
same direction (and performed many of the songs included
here, live), "Up Against The Floor,” which was reviewed in
these pages at the time of it's original release. Both come
highly recommended.

The Electric Bunnies “Chewing Gum” ep (Florida's Dying,
floridasdying.com) This record violated me like a hairy
priest.

Electric Fish “Electric Field” (Slusaj Nasglasnije,
www.myspace.com/slusajnajglasnije) Shocked me and
made me feel better.

Enemy UK “We'll Live and Die In These Towns” (Warner
Brothers) Sounds like Morrissey fronting the Clash!

Helena Espvall & Masaki Batoh (of Ghost) (Drag City)
I’m not crazy about the precious versions of Swedish folk
songs (not sure how Ghost-ish they became, they just sound
traditional), but the blues song (“Death Letter”) is pretty
chilling, and the ominously understated improvised numbers
here are beautiful, especially the lengthy, icy soundscape
that ends the album.

The Estranged “Static Thoughts” (Dirtnap,
dirtnaprecs.com) Before this guy started singing this was my
favorite record of the year, with spooky surf/drag guitar
punk rumblings and hooksgalore, but that alterarock
singing could curdle buttermilk

Etui Etui Soniczoil “svasta svasta stvarno svasta” (Slusaj
Nasglasnije, www.myspace.com/slusajnajglasnije) Et to the
Bet! Croati-Ska!

Every Avenue “Shh, Just Go With It" (Fearless,
fearlessrecords.com) Avenue towards awesome-town!

David Fagin (myspace .com/davidfagin) Donald Dull-gin

The Failures’ Union “Sinker” (onepercentpress.com) I
guess the Insincerity Union and Non-rocking Union
members went on strike, leaving these dudes free reign to be
Union Reps for Sincere Rocking Non-Failure Guild #2008!

F.a, P. (Slusaj Nasglasnije) FaB!

Faraquet “Anthology 1997-98” (Dischord) You know how
“they” say that you have to watch out for the quiet ones
because they just might snap at any minute. This music
sound slike the quiet ones you have have to watch out for.

Faun Fables “A Table Forgotten” (Drag City) Hippest
madrigal record of the year! It’s madri-gical!

Firefox AK “If 1 Were A Melody” (Minty Fresh) If the
future electronic-al robot takeover employs as enchanting
and dreamy a voice as the one accompanying these bloops
and bleeps I will submit to their rule without a fight.

Firewater “The Golden Hour” — (Bloodshot,
bloodshotrecords.com) Not a survey of World Music...a
display of Out of this World music!!! Pure gold!

F.O. F. (Slusaj Nasglasnije) Fuckin Ow-Fal/

The Foxglove Hunt “Stop Heartbeat” (Commonwall.com)
Sounds like music to play when you put on a glove do
something wicked to a fox.

Foxhole “we the wintering tree” (Bumt Toast,
burnttoastvinyl.com) The fox must have went into his hole
to go to bed, because this put me to sleep.

The Freddie Steady 5 "Tex-Pop"- Steady Boy Records,
1607 Elmhurst Drive, Austin, Texas 78741.
www steadyboyrecords.com) Jangly, Byrdsian Power Pop
with hard guitar chords, cheesy Tex-Mex keyboards, big,
thick beats, and a heart. Freddie Kre handles vocals, guitar,
and his given instrument, the drums, with equal aplomb.
"The Happiest Boy In Town" epitomizes what I'm saying,
teen naivete and the quest to have that spark of love back,
when it's as dead as Disco. On the other hand, the Tex-Mex
driven " What's So Hard About Love" is that rare love song
that talks sense, when, in actuality, love never makes sense.
Gene Clark's "She Has a Way" gets the jangly 60s Folk-
Rock treatment (Yeah, "Go figure,” you say), in the most
loving of ways. Kre and Cam King (who provides the
searing guitar leads throughout the album) really tore it up a
few years ago at a Gene Clark tribute show. Kre's tribute to
The 2001 Cavestomp!, a standout track, rocks with lots of
tremelo and Bo Diddley thump. The Creation, Downliners
Sect, Electric Prunes, Mark Lindsay, Kaisers, Los
Straitjackets, Waistcoats, and Saturn V. are all accounted
for. " (I'm an) Armadillo " is a Texas Boogie-Blues,
comparing his perseverance and tenacity to that of the most
beloved, and one of the dumbest, animals in Texas. There's
no reference to running directly in the path of a moving
truck. Kre sings with a lot of youthful enthusiasm, and plays
the drums like he was born to, and, well, he was. He takes
familiar Texan themes, and sends them back to the Garage.

Freezepop “futurefuturefurtureperfect” (Cordless/Ryko,
cordless.com) I'm pretty sure that only evil people dislike
breezy electronic dance pop that is mostly about dance pop
sung by a girl in a sexy, breathy near-monotone. | also think
it’s worth noting that the first time | heard one of my fave
lyrics on the album, “Somebody yells, ‘less talk, more rock,’
mostly unironically,” I thought they said, “Someone yells,
“Let's talk Barack, mostly unironically.”

The Friggs “Today is Tomorrow's Yesterday (Singles &
unreleased songs)” (Apex East, myspace.com/thefriggs) I’m
thoroughly convinced! Cleveland, brace yourself, Rock n
Roll Hall of Fame, here they come!

fuckin’ dj zdena “pretending to be an Englishman” (Slusaj
Nasglasnije, www.myspace.com/slusajnajglasnije) It’s both
funky and funny when non-Americans make super groovy
soul music and say fuck.

Tom Fuller Band “Abstract Man”
tomfullerband.com) Left me Emptier.

(Red Cap,

Funhouse Comp Thing in (MyFatAss,
thefunhouseseattle.com) Not as all killer no filler as volume
1, but this amazing 50 song comp does deliver hot hits from
Stuck-Ups, Pure Country Gold, Steel Tigers of Death, A-
Frames, and the mighty Spits Fun! And house-ish, 1
suppose.

The Furious Seasons (Eskimo, thefuriosuseasons.com)
Furiously awesome!

Richard Gagnier “Misfit King” (misfitking.com) Here's a
“secret” you probably figured out 278 reviews ago. I don’t
always, perhaps don’t usually is more accurate, actually
listen to the CDs I review. I copy something off the press
release or allmusic.com, ask my parrot to come up with a
non-sequitor, use the record review program on my i-phone,
or just say something about the cover art. And if there’s
plastic wrap on the CD forget it...who has time to wrestle
with that stuff. But here’s a lesser-known secret: the only
records I will listen to front to back, unconditionally, are
standup comic albums. Not sure why, but I'm hypnotically
compelled to do so. And as you can imagine, often this
serves as my punishment for my sins of bad reviewing, as
Dane Cook releases two double CDs a year. But often I am
pleasantly surprised, as with this solid release. Gagnier is
not done--- he’s going to get better. But he really delivers
some funny jokes here with his negative dude persona and
deadpan delivery. His best asset is his deconstructivist bent;
he accurately refers to his stories as jokes, lets the audience
know he is starting a joke and how many jokes are left. Best
yet, he eschews biography and continuity for the sake of
jokery, explaining how his parents are retarded in one joke
then abandoning that conceit for the next (Redd Foxx used
to pretend he had a kid in his standup act). I definitely
laughed out loud several times. That’s all I ask for. Damn
you, Dane!

Steve Gattermeyer “Stockholm Sin Drome” (SoniCraft,
sgrockweb.com) Steve Getamedal! Straightforward, down
and dirty, gold medal rock n roll!

Miwa Gemini (Addictive) Gave me a chanteusse-ache.

Get Help “The End of the New Country” (Midriff) Ger
Better. Nlot entirely fair, I like the quirkiness and the weird
stylistic shifts, so let’s say. Get Just A Little Better.

GG. Elvis and the TCP Band “Back from the Dead - A
Punk Elvis Tribute” (Mental, mentalrecords.net) G.G.
actually covered the Archies, so the idea of hatepunk covers
of Elvis is far from a stretch. And far from a masterpiece.

William F, Gibbs “My Fellow Sophisticates” (Old Man
Records) One foot in Brill Building-style post-Tin Pan
Alleyism and one foot in singer-man eamest yearning
(though I don’t think feet can actually year), Gibbs calls
dibs on the songwriting genius seat and then finds his tuchus
fits in it just fine.

David Gilmour, David Bowie and Richard Wright
"Arnold Layne” (two versions) b/w “Dark Globe "
(EMI/Capitol) I'm a little late with this (I waited for the
price on this limited edition 45 to go down), but if you can
put aside some of your (understandable) disdain for 70s and
80s Pink Floyd, you might find yourself really enjoying this
(live) tribute to Syd Barrett. Besides, Gilmour's recent track
record speaks for itself, providing tasteful guitar work with
The Pretty Things on their live (at Abbey Road) recreation
of "S.F. Sorrow,” and on Paul McCartney's superb Return
To Rock (even if he didn’t stay there, long) CD, "Run,
Devil, Run,” and the accompanying live video, "Live at The
Cavern Club.” The man IS about more than just twenty
minute guitar solos. Anyway, this single consists of a spot
on reading of "Amold Layne,” with longtime Barrett
devotee, David Bowie, playing it straight (that wasn't a
poorly placed pun -- for those who don't remember when
Bowie was truly regarded a threat to "The Community
Standard,” it wouldn't have worked, anyway), with Richard
Wright doing a letter-perfect recreation of the swirling,
hallucinogenic Vox organ lines he laid on the original. Phil
Manzanera from Roxy Music also lends a hand with some
restrained, but solid, guitar work. The "B" side has Richard
Wright singing "Amnold Layne" about as well as Bowie.
Rounding things out, Gilmour sings the (until recently)
unheard Barrett solo track, "Dark Globe" (I thought it was
called "Wouldn't You Miss Me?”), and does so with just the
right combination of Syd's frailty and the later Floyd's
cynicism disguised as frailty.

Gito Gito Hustler “What's My...?” (Big Neck,
bigneckrecords.com) Exited cute two records ago, and
veered towards dangerous. Still helium-voiced and bouncy,
but somehow bouncing badassed-ly.

Glass Trees (Magadee) People who live in Glass Trees
should throw rock...and roll music. Gen+ius!

God’s Revolver “little black horse where are you going
with your dead rider” (Exigent) Spaghetti Westerns meet
Motorhead and the result is a pasta explosion with blood
sauce.

Goldcure “Portuguese Prince” (Sorin) Cure my ears.

Golden Shoulders “Friendship Is Deep” (Welcome Home,
welcomehomerecords.com) Genuinely better than the
Beatles.

Alex Gomez “Outdoor Kitchen” (alexgomez.biz) Not
unrelated to the blues of Beefheart, this is intense! Go go
Gomez, you are bluesing for a bruising and we love it!

Gordon Thomas “Everything's Coming My Way (see
Everything's Coming My Way DVD review))

Goribor “Zagreb KSET 02.10.2006” (Slusaj Nasglasnije,
www.myspace.com/slusajnajglasnije) Gori-bored into my
ears and laid rock eggs!

gori ussi winnetou “korra je u brajdi,” “Bidi se istok I
zapod,” “sp sprach Milan Rakovac,” “theka tahiriana,” “adio
plus ‘pulski jeba - I apokalipse,” “apriliska & majska”
(Slusaj Nasglasnije) The Dylan and Tom Waits of whatever
country he’s from!

Gossip “Live in Liverpool” CD/DVD (Columbia) 1
definitely can understand Rick Rubin thinking the Gossip
have potential as a major label act, They are possibly the
most functional dance act in America (try to stay still while
listening to them), obviously that woman can sing, they
reference classic R&B without being like any other retro act
(in fact, they are not retro at all), and apparently they
charted in the UK. But the reasons for introducing them to
the non-indie audiences with a live album are not as clear,
Obviously they are a strong live act, and I suppose it's
important to prove that she can really sing like that, they can
really play like that, with no studio wizardry involved, But
this is not “Kick Out the Jams” by any means; “Live in
Liverpool!” falls far below their previous albums and remix
releases, and while I've played their old records until the
vinyl wore down, I can’t see listening to or watching this
again. Still, what a great band! Also, note that as they intro
their Aaliyah cover no Limeys seem to know who they're
talking about. No wonder they ended with a George Michael
cover!

John Greenfield “Muscle Beach” —(Proshop,
myspace.com/johngreenfieldchicago) At risk of alienating
anyone who didn’t go to hundreds of weeknight Chicago
rock shows in the early 90s, Greenfield cut his teeth playing
behind two mentors who had outsized influence on him;
John Huss, he of ultra clever wordplay and Slink Moss,
master of bare bones rock n roll. But here JG seems to be
making efforts to keep punnery and wordplay at arm's
length and to test the waters of more ambitious songwriting.
Ultimately, what makes Greenfields musical portraits,
shamelessly sappy love songs, and adventurous travelogues,
work is his earnestness; this dude means what he sings.

Gregg Yeti & the Best Lights “Heart Palpitations of the
Rich & Famous” (Eskimo Kiss, eskimokissrecords.com)
The greatest Yeti since the one Rudolph either helped or
fucked over (can’t remember, I think it involved an amateur
dentist elf). This collects his best recordings to let the world
know that Gregg is to wherever the hell he lives in upstate
New York as that one Guided By Voices guy who does the
kicks in concert is to whatever rustbelt city he claims to be
from.

Trey Gunn “Music For Pictures” (7D) Banging!

Neil Hamburger “sings Country Winners” (Drag City,
dragcity.com) After starting life as a phone prank, comedian
Neil Hamburger metamorphisized into sublime conceptual
art. Thrift store record bin scholar Gregg Turkington, whose
80s zine Breakfast without Meat lionized Salvation Army-
mainstays like 101 Strings and Dora Hall, created a series of
Hamburger releases that mimicked vanity-press records

lounge singers sell as souvenirs. These captured the formal
elements of these obscure gems (generic line art, awkward
text) but what elevated them was the Turkington/Hamburger
persona. The melancholy comic is the saddest clown, his
defeatist sighs thundering in a laugh-free lounge. Each
release added nuance to Hamburger’s misery, culminating
with Left For Dead in Malysia, an sorrowful on stage self-
therapy session ignored by chattering non-English speakers.
Soon Hamburger’s (relative) popularity, and Father Time’s
cruelty, opened the possibility of Turkington bringing the
disheveled middle-aged comic to life, which necessitated a
shift. Angrier new Neil hacks phlegm and breaks glasses to
stifle hipster joke-spoilers, and is actually funny. But while
everyone loves a good Courtney Love O.D. joke, it’s sad to
say goodbye to the subtler charms of the Charlie Brown of
comedy. But on his new brilliant release “Sings Country
Winners” old Neil is back. Revisiting his record collecting
roots Turkington perfectly captures the vibe of the
melodramatic country of the Porter Waggoner/Faron Young
era, While angry new-Neil is present (on “The Recycle Bin,”
wherein ranting Hamburger forgets that his subject matter is
a metaphor), the sincere pathos of classic Country marks the
return of heartbreaking Neil. Whether singing in the voice of
a disillusioned child, a frustrated patriot, or a lowly
entertainer, Hamburger, backed by a virtuoso band of CRW
super-pros, creates a comical loving tribute, not a mean-
spirited parody, of a lost era. That virtually no actual
country fans will hear this record is as tragic as a Neil
Hamburger sigh

Chip Hanna & the Berlin Three (Acetate, acetate.com)
There's roots and there's rock, but rarely does ‘roots rock’
actual reflect the former and do the latter. But this
awesomely achieves just that. Rockabilly fans, brace

yourselves!
HARI “Krvnik od Ilinchice” (Slusaj Nasglasnije,
www .myspace.com/slusajnajglasnije) SCARI

Hate Eternal “Fury & Flames” (Metal Blade,

metalblade.com) Hi technical brutaltivity that is about as
extremely perfect an example of contemporary metal as you
can get. This will demolish you.

Lee Hazelwood "Cake or Death" (www.everrecords.com)
Lee was, of course, in the final stages of terminal cancer
while making this, his last album. Going by his last
interview, to my knowledge, in Blender magazine, the man
could have probably pinpointed the very time and date of his
departure. Not surprisingly, he felt determined to make
every minute count, while trying to reach his goal, which
was, leaving the world with one last testament. You could
be forgiven for thinking Hazelwood, who straddled that line
between the somber and the silly like he'd slip and fall into
the hard, slippery ice of Chicago winter or the red hot sands
of Arizona, anytime, would be on a bum trip, so close to the
end. HA! (In my best Nancy Sinatra, which isn't very good).
That's where you'd be wrong, my friend. For the most part,
an actual "Party" atmosphere prevails, here, as if The
Cowboy was determined to enjoy the thing that kept him
going, his work, to the fullest. Sure, there's some "Down"
moments, but all of that is still overshadowed by Lee's bone-
dry sense of humor. His voice is remarkably strong, only
somewhat raspier, and in lower registers than you may recall
(I had the pleasure of seeing him perform, once, with
Nancy, several years ago, and he was hitting low notes that
would've put Beefheart to shame!). While I was prepared to
hear something more in line with Johnny Cash's final
recordings, which, while inspiring in their determination,
could ultimately bring one to tears, witnessing the slow
death of the best friend you never met (well, MOST of you,
anyway). I was instantly taken aback by the genuinely
cheerful, easygoing vibe of much of this album, comparable
in tone to the happier songs he wrote and recorded in the 60s
and early 70s. Obviously, he knew "Cake or Death " was not
a choice, but the fact that such a very, very sick man had the
wherewithal to make it from start to finish, still raising some
smiles along the way (Hopefully, some of which were his
own), is, indeed, remarkable. Oh, yes,and the SONGS...The
format, here, is not radically different from Cash's American
Records period, a cover song that'd probably only sound
great in his or Cash's hands ("Please Come To Boston"),
some remakes of signature songs (a freewheeling last go-
round on "Boots,” and an abbreviated version of "Some
Velvet Morning" featuring Lee's little Granddaughter,
Phaedra (Of course), that will either (a) Make you cry, (B)
Come very close to it, or (C) You have no soul, and
therefore, you are the weakest link. GOODBYE. Don't let
the door hit you in the ass on the way out).Then, of course,

we have some stunning originals, with some very interesting
guest vocalists that, apart from little Phaedra, I've never
heard of, and, as some are probably hipster faves at the
moment, someone can show ME the door. Lula sings the
duet, "Nothing,” with Lee, taking on a wildly sexual French
Pop bent that works surprisingly well with Lee's usual, self
effacing (self-kicking), vocal manner. It's an Ann Kristin
Hedmark doing duet honors on "Please Come To Boston,”
and though I am sick to death of the term, boy, does she
sound SOULFUL. Bear in mind, she may already have a
couple of hit records under her belt. I didn’t know what
Norah Jones sounded like for eons, either, but | appreciated
what she looked like. Another "Newcomer" (I dunno. You
tell me), Tommy Parsons, takes vocal duties for an entire
song, "She's Gonna Break Some Heart Tonight,” a good tuff
Country song. Another guest whose prescence | detect (But
I could be wrong) is longtime Hazelwood collaborator
Rhythm Guitarist for Duane Eddy's Rebels, and creator
(with Hazelwood) of one of the finest Surf LPs ever,
"Surfin' Hootenanny.” the late, great Al Casey (He only
passed on recently, so he could have been on some of these
sessions)...At any rate, SOMEONE is layin' down some
tasty Surf guitar lines to keep the whole collage together in a
most intriguing manner (Hey, I don't like throwing that
word around, either). The song that will lead more panel
discussions, however, is the admittedly strange anti -war
song, "Baghdad Knights,” which was released as a very
limited edition single. The 45 sleeve features a simple, but
effective, illustration that looks like a biker gang's colors,
and reads, "Respect The Soldiers. Hate The War.” Need I

say more? Hazelwood's work will continue to be
rediscovered, time and again, and, his last parting gift to the
world should not inspire sadness (I have to admit,

sometimes I have a HARD time listening to Johnny Cash's
last recordings, because you can hear the life seeping out of
his body), rather, it should leave the listener laughing at
life's ironies, however cruel they may be.

Headlights “Some Racing, Some Stopping” (Polyvinyl,
polyvinylrecords.com) Should be called Headlice ~ because
these indie gems are really catching!

Hellbound Glory Scumbag Country” (Gearhand)
Although I kinda dig these well-crafted odes to lowlifes,
both urban and rural, there seems to be an element of over-
twangin here, the country equivalent of a minstrel show,
which is something I usually hate. This is strong enough that
I would see the dude live to see if he’s the real deal, but I’m
at the fence at this point.

Henry Fiat’s Open Sore “mondo blotto” (Alien Snatch,
aliensnatch.com) If Devo were serial killers this is how they
would sound in their heads, These are the mask rock kings
of the 21* century!

Hercules and Love Affair (dfa, dfarecords.com) Forego
Viagra and direct this CD towards anything that won't
move!

Here Comes Everybody “The Veronica Papers”
(Refigerator) Here Comes Nothing I'll Ever Listen to Again
Piano + fullness with one’s self = I don’t wanna hear it.
Hermano “...into the exam room" (Remain) | moan
aaeaeart

the heys “youngbored&broke” (4 West) Very Brit, full of
hits and that’s no shit! HEY! I love this contemporary
sounding but very 60s influenced band of Heymakers.

Hey Willpower “P.D.A.” (Tomlab) I’m gonna call this
Good Willpower, because this filled me with good will
towards this I genuinely wanted to like it. But this sorta
postmodernist dance music comment/semi-functional dance
record isn’t quite there, but I want to like it, which counts
for something, right?

Chris Hicks “Dog Eat Dog World” (Ramblin’) Chris Hack.

Hipbone Slim and the Knee Tremblers “The Sheik Said
Snake” (Voodoo Rhythm) Street gang skiffle blues rash
switchblades up your street than takes an excursion to the
desert for some rocking dessert. Made all my bones feel hip.

Ho-Ag “Dr. Cowboy” (Hello Sir, hellosirrecords.com)
Oddball art punk that always has the drive of non-art punk
and makes me wish I could come up with a more
appropriate rhyme than “Hobag” to praise them with.

Hot Cha Cha “Rifle I knew you were just a pistol” (Exit
Stencil) Not cha cha.

Hollywood “Hits! An AlltimeLow" (Big Neck) Trash
garage so damaged and spectacular that it made me
impregnate a dumpster. This is absurdly nasty sounding - if
you don’t love this record you need psychiatric help.

Honey Rider “Sinteckicka Uspavanka” (Slusaj Nasglasnije,
www.myspace.com/slusajnajglasnije) Sweet rockin’ rock
that rocks!

The Horde “From Empire to Ashes” (Scenester Credentials,
scenecred.com) The most extreme Midwestern metal since
Iced Earth, the Horde will brutally kill you! Best metal
record of the year!

House of ill Repute “Black House Sessions”
(hardkandyrecords.com) Horror dance-core that you could
play at your ultrahip haunted house

Idi Amin “Rockstar Promo” (?) Ate my human flesh...with
rock!

Infra Red “intenzivna cma” (Slusaj _Nasglasnije,
www.myspace.com/slusajnajglasnije) Crue-esque!

The Instruments “Dark Smaland” (Orange Twin) Should
be called the InstruMINTS because this Elephant 6
genre/nation/culture/groove hopping sonic experience is
FRESH!

I See Hawks In L.A, “Hallowed Ground” (Big Book) I
believe those hawks you see are called Byrds, and they've
been there for a long time

Melvin Jackson “Funky Skull” (Dusty Groove America)
The best funk in the world is the Chicago stuff by non-
fnksters just feeling it. Space age bassist Jackson works with
Phil Upcurch, Pete Cosey, Lester Bowie, Roscoe Mitchell
and others on this amazing, dignified session where you can
feel good about your dessert of dancing but know you are
also getting your veggies of jazz genius on some of the brass
runs. This will rattle your cranium bones.

Jeanie & the Tits “Slut Fame” ep (Florida's Dying,
floridasdying.com) Aptly named, as this 45 is “the tits.”

Jefferson Pepper “American Evolution” (American
Fallout) This dude genuinely loves America, more than
Toby Keith I'd venture. Both through portraits of its people
and tales of its problems, JP impressively navigates this
crosscountry musical journey

Beau Jennings “...and the Holy Tulsa Thunder” (The Old
Murkville Forest, murkvillecom) This is 3 of the best
episodes of Austin City Limits rolled into one.

Jewmongous “Taller than Jesus” (jewmongous.com) God
willing, this CD will get a good review in Heeb, or maybe
JUF News. But in these pages we gotta keep it real. These
Jew-themed would-be comedy songs probably make Dr,
Demento glad he’s not Jewish (unless he is, who knows?).
Though I did laugh at the line “Good Shabbos, Fuckface!”

Joan of Arc “Boo Human” (Polyvinyl) I don’t like to admit
that ultra-indie bands (that truly genuflect on the aesthetics
of indie rock rather than the ethics) are actually awesome
and genius, but JofA is and is, You'll will be sucked in and
processed and come out with the same haircuts as the band!

Pete Jolly “seasons” (Dusty Groove America) I am not
normally on the Jolly-wagon, and while this 1970 album
showcased him at his wildest, going keyboard crazy on a
few tunes, other than the sound effect-ual “Bees” I was not
too into this.

J. Spaceman, Sun City Girls “Mister Lonely — Music
From A Film By Harmony Korine” (Drag City) This
seemingly being the final Sun City Girls release (see
Charles Gocher obituary in the COLUMNS section), and
being a soundtrack to a movie about a Michael Jackson
impersonator, was it too much to hope for a Sun City Girls
Michael Jackson covers album? Sonic Youth did a Madonna
covers record in 1986, so it could have happened, right?
Well, maybe not, but I still had hope as the album opens
with the Jackson impersonator's monologue lamenting his
crisis of identity. What follows is a series of 19 tracks, some
by Spaceman (Spacemen 3/Spiritualized) others by SCG,
that despite being done separately feel cohesive and organic
beside each other. Though there is some tension and noise
and strangeness in the Girls tracks, it’s less than you might
expect; this is genuine soundtrack music, designed to
enhance mods of scenes, not take you out of them. And
while the CD booklet’s amazing stills of faux Jackson, faux
Monroe, faux Chaplin, faux Buckwheat, and possibly the
real Pope (I know Korine is ambitious) initially got me
really excited to see this film, the emotional shift in the
music in the CD’s second half have me a little worried: it
sounds like things might not work out for Michael, this
sounds like some bad stuff going on audio-wise. And again
(apologies to Mr. Spaceman for not giving him any love
here, we are just overwhelmed by Mr. Gocher’s pasing), if
this is ther last Sun City Girls release, perhaps it is fitting
that they went out not with their most intense, outrageous
bang but rather by demonstrating how nuanced, emotional
and intelligent their music could be.

Juanita Y Los Feos (Dead Beat) Spanish trash punk that
could pass itself off as having been recorded anytime over
the past thirty (maybe forty) years yet still sound so new and
fresh that you want to sail to Spain to adopt these Farfisa-
abusing teens (and if they are older than teens, I need to start
siesta-ing),

Juke Joint Pimps “Boogie the House Down Juke Joint
Style” (Voodoo Rhythm) More blues-ish than actual blues,
this is the bluesiest! Sounds like ghosts made this record.

Jupiter One (Cordless/Ryko, cordless.com) Jupiter-rific!
Out of this world music that sounds like the Smiths gone
sci-fi!

Jura Klavijatura “osvaja svijet” (Slusaj Nasglasnije) Ultra
lo-fi keyboard rock that falls somewhere between the
Cramps, Madonna, Daniel Johnston and the scariest kid in
your middle school.

Jurica Jelic “Bzz, Bzz 3° (Slusaj Nasglasnije,
www.myspace.com/slusajnajglasnije) Jelicious!

Kaia “godmakemonkeys” (jealousbuthcer,
jealousbuthcer.com) Oh my god, I LOVE her! Wish I could
say more but these simple tunes are so moving I’m
speechless (typingwise).

Kenji Siratori/Federico Barabino “Hallucination Cell”
(Slusaj Nasglasnije, www.myspace.com/slusajnajglasnije)
The opposite of Japanoise is Japaquiet.

Kimkio “en az iki, en fazla sekiz” (Slusaj Nasglasnije,
www.myspace.com/slusajnajglasnije) So New Wave it is
New Tsunami!

King Dust “Full Denim Jacket” — (Maggadee,
maggadee.com) Heavier than a meteor in Earth’s gravity
plummeting doomsward. But not particularly doomy.

There's even a bit of Crue and Danzig and Motorhead in the
vibe here.

King of Spain “Entropy” (New Granada, newgranada.com)
Kinged me!

Kodagain “Speed Up,” “The Nowhere Land's Echo,” “A
drink with something in it” (Slusaj Nasglasnije,
www .myspace.com/slusajnajglasnije~) KodaGREAT!

Kula Shaker “Strange Folk” (Cooking Vinyl) Grooooovy
maaaaan!

Lach “The Calm Before” (Fortified) Blach.

La Clave (Dusty Groove) A weird 1973 Verve reissue
which kind of sounds like incredibly successful -- but
somehow flawed --- fake Latin Funk Jazz. To be fair, about
half the cats are Latin and there are some names on this
session (including Willie Colon and Lalo Schifrin who
certainly had a Latin music background with Xaviar Cugat
before his Mission Impossible gravy days), but it just seems
like they are sorta faking the funk, trying to apply a few bits
of flavor to pop covers (“Sally Go Round the Roses” and
‘The Ghetto” included), The hardest driving song, called
“Latin Side,” sounds like a funk soul action movie
soundtrack piece with some Latin sauce sprinkled on. Still,
this cats are getting down, and you ain’t gonna hear a better
set in town this week.

Dawn Landes “Fireproof” (Cooking Vinyl)
Heartbreakingly awesome! Landes’ voice, delivery, and
vivid lyrical narratives will enchant you like magical fish, or
whatever enchants these days (sorry, not up on my
contemporary magic).

James Larson “s/t,” “Billy Loves His Tractor,” “He
Doesn't Have to Go to Hooters,” “Jesus Loves Me” (James-
Larson.com) Larson has a resonating, unusual voice, with
timing and phrasing reminiscent of song-poem recordings. If
you are looking for a country/gospel artist who is both very
traditional and very different, these CDs will make you
happy.

La Scala “The Harlequin” EP (highwheel) Cabaret-fic!

The Last Barbarians = “Weekend Warrior”
(lastbarbarians.com) This is what you call bals to the wall
rocking!

Lazy Magnet “Is Music Even Good?" (Corleone,
corleonerecords.com) This isn't art rock, it is post-art pre-
rock!

Left Arm “Dissatisoul” (TIRC) Awesome garage trash and
soul combo that makes music so nasty I had to clean a sticky
film off my speakers after playing this. Left is all right!

Janet Leigh “White Christmas” (Double J) Leigh-ed me
down in a manger to be born!

Lemuria “get better” (Asian Man) Fuck indierock, I'm
ready for the return of indiepop. This awesome hooky,
girl/boy vocal-sharing band belongs on a 1991 Simple
Machines split single and in the gushing praise-filled pages
of some 14 year old girl’s Xerox zine. By the way, that girl
would be pushing 30 today, and would still be cool.

The Light " Tur On...The Light” (UT) So. Cal Psych-Punk
crosses paths with Baroque Pop introspection, and everyone
wins. The Light dealt in screamin’ guitars and a vocal sound
that's every bit as screamin'.,..when they wanted to. The band
was just as at home with lush harmonies and gentle textures
that probably did it's thing, making beautiful California
flower babes require two pair of panties at their gigs (if
wearing underwear at all was the fashion at that time), In
truth, these guys probably could have got by on their looks,
and their exceptional taste in Mod/Psych finery, but one
listen to a band whose every song read like a mini epic, be it
punk, Psych, or Pop, and you'll realize they were wholly
committed to their craft. While obviously not as well-known
as Moby Grape or The Move, The Light shares in common
with both bands an outpouring of instrumental talent from
all five members, and no shortage of singing ability across
the board, Each song is different than the one before it.
There's also plenty of live evidence, contained herein, of the
band's combined prowess. If you liked the "So good I can't
believe it's fuckin’ real" sounds of bands like Public
Nuisance, this will be right up your alley, The Light's story,

in itself, is a damned interesting one, but you'll have to order
Ugly Things #25, now, won't you?

Linwood “Burn Effect” (Waxsaw, waxsawrecords.com)
When Alternative Rock ruled the world a band like this
would have parted the red seas, with their dramatic vocal
phrasing, intense musical dynamics, and emotional music.
With whinier pop ruling the roost these days who knows
what the market holds fr these cats, but maybe it’s time for
an actual alternative, and these adudes are it.

Little Mojo “Inside Bleeding Out”
(myspace.com/LITTLEMOJO) Too bad Dawson's Creek is
off, because this woulda been great music for that show,

The Lodger “Life is Sweet” (Slumberland, slr.com) Jangly
and ultra-British this lodged in whatever part of me I like to
get lodged into and stuck there!

Lo Fine “Not For Us Two" (Pigeon) Slow Grind.

The Loose Acoustic Duo “Sorrow Be Gone” (Big Book,
bigbookrecords.com) Nice jugs!

Lords & Barons (myspace.com/lordsandbarons) Lords
have mercy! Garage pop with a little Sunset Strip shine
fighting with a smudge of NYC Bowery grit.

Lorna Doom “The Diabolical EP" (Corleone,
corleonerecords.com) Soul music for damned souls!

Shwa Losben “chop chop” (shwamusic.com) That finger-
formed “L” on my forehead stands for Losben — that’s how I
applaud,

Los Hooligans "La Gran Coleccion 60 Anniversario," Los
Johnny Jets, Los Teen Tops (Sony BMG Entertainment-
Mexico) In honor of CBS-Mexico's 60th anniversary, a
wide-ranging series of limited edition 2 CD retrospectives
was recently released on the Mexican market (which means
you shouldn't have too much difficulty finding some of
them at your local Spanish language music store, nor in
Mexico, should you happen to be going there),
Unfortunately, the series is not big on Mexican Rock ‘n’
Roll from The 60s. I did, however, find these three sets,
between Chicago and Puerto Vallarta (to my knowledge, all
three of these bands are still active, to some degree, in
Mexico, as are several others, rockin’ with a tenacity that
makes British bands seem absolutely passive). Los Teen
Tops one of Mexico's earliest recorded R ‘n’ R bands, and
among the wildest of the early crop, combined Raw
Rockabilly with Little Richard, Elvis and other American
rockers that made it over the Mexican airwaves, and came
up with something uniquely their own. Pretty much
anything with their name on it comes recommended. "La
Plaga,” a reworked version of "Good Golly, Miss Molly,”
possibly wilder than Little Richard's own classic (I can just
hear The Beauty saying, "SHUT UP!"), has since become a
Rock standard in it's own right in Mexico. "Buen Rock Esta
Noche" is a frantic take on Elvis! version of "Good Rockin’
Tonight.” Another hyper-speed take on a Presley fave is "El
Rock De La Carcel" ("Jailhouse Rock"), but the band
(infrequently, Gracias por Dios) gives in to the compulsion
to record some slower numbers, like "La Novia De Mi
Mejor Amigo,” better known as the Elvis/Ral Donner
ballad, "The Girl of My Best Friend.” For one reason or
another, this song has become a staple in nearly every
Mexican Rock ‘n’ Roll band's diet. Basically, these gatos
can do no wrong. Even their "Twist" stuff is cool. Los
Hooligans weren't as hard-rockin' as Los Teen Tops, but
they did their thing and did it well. The band had an affinity
for proto-Cramps tremelo-soaked guitar that elevates
otherwise so-so numbers like "Adios a Jamaica" ("Jamaica
Farewell") to muy frio status. They do a kind of spooky
"Lonesome Town" as "Pueblo Solatario" with tremelo and
galloping woodblocks fighting for the spotlight. It won't
beat The Cramps' version in a taste test, but it works. "Aju
Aju" recalls some of Elvis' uptempo numbers like "Hot
Dog" or "How Do You Think I Feel,” while "G.I. Blues"
gets a respectable workover as "El Blues del Soldado.” The
singer croons well, sometimes even groans well, so
reinterpreting Elvis' material isn’t such a chore, but to redo
Freddy Fender's early Mexican hits, "No Esta Aqui" and
"Acapulco Rock,” is no mean feat. They do both songs a lot
less wild n’' raw than the originals, but turn in a respectable
performance. Their own "Hooligan Twist" turns up the
wildness factor considerably. What sounds like a toy organ
solo has got to be heard to be believed. "Dificil de Atrapar"
graduates to a real cheesy organ sound. "Pitagoras,” which

was comped on "Blue Demon's favorites" is a real frantic
rocker (about the father of mathematics), more like Los
Teen Tops in it's delivery. And if THAT don't get it, there's
a Spanish version of "Alley Oop"!!! Los Johnny Jets were
all across the board, going from traditional Mexican
melodies (not too exciting, but sometimes done in a sorta
Conjunto stomp manner) to displaying good taste in British
Invasion and American Party Rock material. "Bule Bule”
("Wooly Bully"), "Bule Bu" ("I Feel Good (1 Got You)"),
"Es Lupe " (“Hang on Sloopy”), "Bajate de Mi Nube" ("Get
Off My Cloud") and "Deja de Llorar " (the far lesser- known.
killer, "Everything's Alright” by The Mojos") all appeared
on the mas rockin’ LP, "Los Johnny Jets a-Go-Go,” which
I'm fortunate enough to own, but it's great to hear these
recordings, all cleaned up. The only problem with tracking
down Mexican R ‘n’ R reissues is, sometimes the sound
isn’t that great (OH, and sometimes you'll get new re-
recordings, or dubbed-in drum machines. Sacrilege), but
Sony/BMG has no excuses, this stuff simply MUST sound
up to par, and it does. A few other surprises include "El
Leon,” or as it's better known (though not even THAT well
known) as "The Apple of My Eye " by Roy Head.
Unfortunately, their best track, "Dam Dam" aka The Who's
"Call Me Lightning" doesn’t appear, here. CRIME. As we
get into the late 60s, the band gets into less Rock-oriented
material, but | warned you about that, earlier. In and
amongst the more adult-friendly Mexican melodies are
plenty of honkin' sax, surf guitar, and perfectly acceptable
two-step rhythms, so, all is not entirely lost. The novelty hit
“Felipe El Hippie" is yet another stomper that has little to do
with the sounds associated with the Hippie daze, except,
there's some psuedo-Cream tone pedal guitar in overdrive to
bring the point back home. The original LP sleeve for the
album of the same name has an incredibly racist-looking
cartoon of what's supposed to be a Hippie, but we're led to
believe it's just a very dark-skinned Mexican with very large
lips. One of the band's finest moments appears toward the
end of this collection (giving the impression that it was
recorded in the very Late 60s, or even the Early 70s), a Frat-
rockin’, reverb-drenched "Trabajando en La Mina de
Carbon" ("Working in The Coal Mine"), which includes, if
you listen VERY closely, the same kind of screaming lead
guitar as on “Felipe.” All three of these collections have
something to offer, if you're at all interested in listening to
the REAL Rock ‘n’ Roll en Espanol,

Lost Tricks “keep it together” (losttricks.com) Shopping
advice: Don't get Lost

Los York’s “El Viaje: 1966-1974" (Munster, munster-
records.com) Munster keeps unearthing amazing non-
American 60s bands, and Los Yorks may be their best find
yet. This Peruvian garage combo has a riveting lead singer
who knows how to go nuts, some innovative guitar wankery
and amazing covers of “Hanky Panky,” “Suzy Q” and other
gems. Liner notes and photos are amazing, too (they were
the Pperuvian Monkees, with their own TV show!), GET
THIS!

Lousy Robot “Smile Like You Are Somewhere Else”
(Socyermom, socyermom.com) I realize it’s not as catchy a
name, but for accuracy’s sake this pleasant hooky mellow-
new wave band should be called Not At All Lousy Robot.

The Loved Ones “Build & Burn” (Fat, fatwreck.com)
Street punk goes respectable and gets there. Should be
called the Liked Ones, because I’m not ultra-enthusiastic,
but this is definitely pretty good.

Love Psychedelico “This is...” (Hacktone, hacktone.com)
Love is a strong word, but I really like Psychedelico.

Loxsly “Flashlights” (?) Loxsational!

Lucertulas “tragol de rova” (Robotradio,
robotradiorecords.com) Should be called Winnertulas!
Mathematical boogie rock!

Luxury Condo “Escalado Man” (luxcon.moonfruit.com)
Lounge music meet soundtrack-to-a-movie-you-wish-you-
saw music on this slinky treat of an EP. Luxury-ous.

Lynam “Tragic City Symphony” (MewOceanMedia)
Better than Bon Jovi!

Mac Blackout (Dead Beat) Solo Fuctional Backout that
may be less functional musically but is more funk and more
tion and more like Al than his band. Genuinely ominous and

disturbing (including the first evil summer song...play it at
the beach).

Machina “Drugi” (Slusaj Nasglasnije,
www.myspace.com/slusajnajglasnije) Blew my mind with
audio suction!
Graham MacRae Graham
ManGreat!

(amanaplanacanal.com)

Mahjongg “Kontpab” (K) This album makes it obvious that
the past Mahjongg are drawing upon extends far beyond the
birth of rock ‘n’ roll. With a few exceptions (most notably
“Problems,” a mid-tempo groover that's sounds a few BPMs
away from being a Top 40 hit), this is a hypnotizing exercise
in electro-tribal music; the Mahjonggers make their robotic
phlangey synth-struments effectively recall sounds that are
supposed to be made with shells on sticks and handmade
animal hide drums. This can be completely accessible and
seductive (as on the remarkable “Teardrops”) yet always
seems to be an inch shift away from experimental noise
sounds. Ultimately mahjongg are one of the only bands we
can think of that maintain a constant vibe of joy while acting
intentionally weird, artistic and important. Their publicity
release for this album references cryptic pseudo-sacred
texts, and uses phrases like “Many not briefed on the vast
Kontpab religion will never fully understand Mahjongg
during their "Warning Orbs.” And we couldn't agree
more. ..we think?

The Makeoutparty! “Play Pretend” (Teenacide) Youthful
power pop that will make you fall in love with everything!

Marinada “Son of the Sun,” “Analog Dog” (Slusaj
Nasglasnije, www.myspace.conv/slusajnajglasnije) Marin-I-
Dig!

Martini “The

Carol
(Acoustician@aol.com) At first listen the simplicity of these
tunes and the somewhat echo-ey recording make you think

Shaggs/Daniel Johnston, then you realize Martini is far
from an outsider, these are delicately crafted, sharp
songsmithings, and the seeming simplicity is deceptive.

Gena Mason “Testament” (Dorado) Alien Nation TV
show, The CIA Makes Science Fiction Unexciting #3
(Microcosm, microcosmpublishing.com) The
Microchipping of America: Now That Cyborgs, Gang
Stalking, and Human Bar Codes Are Here, What Can We
Do About It? (genamason.com) Mason is beloved in these
pages for her classic CIA zine (this updated version
metabolizes many readily available, some variably
interpreted, and some well-kept secret CIA horror stories,
with lots of Patriot Act shenanigans spelled out), but we also
dig her cable access show (the episode she sent recycles a
number of Clinton conspiracies, but it does it with style) and

especially her music. What's not to dig about a beautiful.
badass rocker channeling Jim Morrison, Jim Carrol, and
Nico over dirty raw tracks. At press time we just received
Mason's hefty draft of a report on microchips for humans
and though we are only halfway through with this
impressive investigation, one thing is clear: it’s a great time
to be into conspiracies when the government, science, and
industry seem to be trying their hardest to make even the
most paranoid fantasies total reality.

Mass Shivers “Ecstatic Eyes Glow Glossy” (Sickroom,
POBox 47830 Chicago, IL 60647) If this is art rock than
sign me up for the crit! Shiver-tastic!

Mass Solo Revolt “Easy Mark” (?) Ironically, very few
solos on this thing. Great drumming, though.

Allen Mayes “Slow Down," “Night Like This”
(AllenMayes.com) More traditional and golden-voiced than
% of the CMT All-Stars, Mayes is a real throwback, That's
what I call a cowboy!

John McBain “The In-Flight Feature Deluxe Edition”
(expansionteamrecords.com) Not sure how to describe, but
this is pretty fucking awesome. Atmospheric music that
ranges from to airy to freaky is presented with a few
amazing regular rock n rollers thrown in, including a cut
called “I Got Nightmares,” that at this moment is my
favorite song of ever. And an evil Chipmunks meet LSD
Beatles song about bubbles and Hubbles.

Mckenzie-Bruce “Berner Street” (Bigdan) There is a
contest that if you listen to this CD you could win $10,000.
Not worth it.

Dan Melchior und das Menace “Christmas for the Crows”
(Daggerman, daggermanrecords,com) | believe the reason
Herr Melchior has been on seven hundred record labels is
that despite whatever it is that makes him not be on any of
these record label for too long (an unresponsive public? a
bristly personality? Who knows?), basically anyone who
fancies himself a music label dude that gets delivered an
album as unfuckingbelievably awesome as this one is going
to release it regardless of logic, business sense, or any other
factor. That these ghostly, genre-free (but not unrelated to
blues garage, but not actually identifiable as such) creepy
musical explorations are so instantly catchy is downright
eerie. How can something so dark and oddball bore into
your brain a chewing gum jingle? Melch Ado About
Something!

Men Without Pants “Naturally” (Expansion Team) Made
me take off my pants for two reasons; to admire my shake-
dancing booty and to check to see if my penis had been
musically transformed into an industrial robot widget (it had
not, listen to this monsterpiece without risk!),

Menthols “848” b/w Hey Hey Hey" (Florida's Dying,
floridasdying.com) These Menthols move men’s souls!
Grooving absurdo punk that just seems like a Jot of fun to
make and hear.

Mess Anger “Black House Mess” (Thoran’s Nails) Driving
darkcore that sounds like bats swarming

“Messthetics #104.” “Messthetics #105”
(hyped2death.com) This series will never disappoint,
Between 1977 and 1981 apparently over a zillion UK diy.
bands, non-bands, and anti-bands put out cheapo 45s and
cassettes, some pretty slick, most barely audible. To say
these tracks, which intentionally or not enter noise, art rock
and no wave territory, sometimes just for a verse or intro in
the middle of a pop punk or Smiths-ish song, are more
interesting than Killed By Death songs is an obscene
understatement, Definitely more interesting, “better” is open
for debate. Of these two volumes the Scotish d.i.y. on #105
have a slight edge mainly because of Metropack’s surprise
cohesiveness despite extreme shambling lo fi. The Vertical
Smiles present a non-cohesive inept anti-corporate punk
Clash attack that is barely audible which is kinda fun. But of
course, a band with a name like Scrotum Poles wins this
battle of the bands. Volume #104, focusing on South Wales,
has some highlights (especially the important sounding “Fun
Time” by Spitfire Boys) and I guess most no-fi recordings
are kinda equal, You basically can’t lose with an volume in
this series.

Augie Meyers "Through The Years" (el Sendero El Sendero
Records - P.O. Box 34404, San Antonio, Tx 78265.

www.augiemeyers.com) This is a different concept than just
a live album. Augie put together the songs he'd had the most
requests for when he played out. Instead of working them
oul on stage, and keeping the best performances, he decided
to go into the studio and spend some time on them. The end
result is a unique gift for his fans. Even when he's not laying
down his patented Tex-Mex/Conjunto stomp, Meyers
always puts his best foot forward. From an emotional
reading of "Don't Let Me,” the album's opener to the funky,
fun Soul-Rocker, "Cryin' Out Loud,” which features some
big, bad, homy horns, the likes of which you haven't heard
since the early 70s, and splendid guitar interplay. Many of
these tunes call to mind Meyers! Soul Brother #1 in this life
and the next, Doug Sahm, a point that's put forward, even
moreso, by the appearance of Doug's son, Shawn Sahm, on
some tasty, fluid lead guitar. Besides that, Augie's son, Clay,
checks in with some knock-'em-out drums and percussion.
And, if that's not enough to make you wanna blow your
mind, Augie and Clay also share keyboard duties with
Charlie Rich, Jr.!!! Jack Barber from the old SDQ even lays
down some bass here, too. An uncontested highlite, "Sky
High,” really recalls later Sir Douglas Quintet, with brass,
and even flute, battlin' it out for supremacy, while Augie,
with some great Gospel/Soul backing vocals, brings the
whole thing to a crescendo (think Joe Cocker's "Delta Lady
" with half a keg of dynamite stuck up it's ass). The good-
natured Country "Deed To Texas” is the most good-natured
ode to secession. Not only does he tell the Union "They can
have their membership card,” but he refers to himself not
just in the third person, but as a place!!! YES!!! "Release
Me" recalls his bandmate and friend, Freddy Fender's
version, but carries with it an optimistic outlook that seems
to say "I'm fixin’ to start lovin' again whether you dig it or
not!."It also features a honkin’ sax solo by Rocky Morales,
himself a longtime vet of The Sir Douglas Quintet and
various related projects. The Jack Clement standard,
"Miller's Cave,” also gets the Tex-Mex treatment, with
Meyers ranting and raving like he really is lost in a cave.
There are a couple of live cuts, here, and they're a stone
groove, as Doug Saldana would say. An upbeat Texas Blues
version of "You Win Again" that never gets it's foot off the
gas, and the rockin’ "High Texas Rider,” which I could have
easily seen Gene Vincent nailing at his session with The Sir
Doug-less Quintet, or even Roy Head, who you KNOW has
another Rock n” Roll Cracker Soul album in him. Butit's
Augie's baby, and he rocks it just fine, thank you.
"Memories " closes things out in a laid-back, contemplative
groove, like El Rey del Vatos is trying to calm down a
noisy, ram-drunk-shus Texas crowd. You're damn right
that's what he's doing! Leave ‘em smiling, but mindful of the
rules of the house....and then there's a matter of the
Police....But it sound like an evening of lovin', not shovin'.
Before I go, I want to address one thing. Another reviewer
said that he liked Meyers’ music, but felt that his singing left
something to be desired. Augie doesn’t claim to be a singer's
singer, but he handles each song, here, with such gusto and
so much lust for life, it's your pleasure to hear him doing
what he loves best. Besides, singers like Fender don't fall
out of trees, but they're rooted in the same soil. Augie pulls
from many different musical sources, here, but it all braks
down the same way : Bluesey Country Tex-Mex Soul and
then some. This is an album Sir Doug would be so proud of,
and you don't have to be some kind of medium to feel his
presence all over.

Chero Michel “Learned From the Best” (Ginjibu) Though
the production and songwriters don’t always known what to
do with her, Michel is a real R&B talent who can tell a
story, express an emotion, and bring drama.

Microtia “Distance is Oval” (Exigent, exigentrecords.com)
Myexcretion.

Miou Miou “La La Grande Finale” (Minty Fresh,
mintyfresh.com) Miougical! This literally enchanted me, as
1 am sure I saw pixie dust come out of my speakers and
glitter about as it made me dance joyously and fall in love
with everything that speaks French, including my French
toast which only telepathically speaks to me in French.

Misfortune500 “Before The —‘ Winter
(misfortune500.com) This is nothing special.

Ends”

Miss Ohio “Low” (L'Oceanic, missohiomusic.com) Miss
SLOWhio

Rod Mitchell “Cheesecake” (rodmitchell.com) Not funny.

Modey Lemon “Season of Sweets” (Birdman) If it is ever
your mission to convince me that Modey Lemon is the best
band in the world, than you wan't have too much
convincing to do. Uttelry breathtaking rock achievements!

Monotonix “Body Language” (Drag City, dragcity.com)
Best Drag City band ever! Actually rocks! I would put my
penny in their pushka any Friday!

Monolit Plastu Sena (Slusaj Nasglasnije) Monotonous.

The Mooney Suzuki “CBGB OMFUG Masters: The
Bowery Collection - LIVE JUNE 29, 2001” (MVD,
mvdaudio.com) When this was recorded MS was basically
the best garage rock band in the world, and that can be
proven by the fact that like the best garage bands from the
60s there are actually memorable songs here — if you were
putting out a garage revival “Nuggets” and left off “In A
Young Man’s Mind” you would be a failure. Also features
some ace stage banter.

Nathan Moomaw “26” (Gazebo) A year in the life of a
relatively young and extraordinarily sensitive dude. Did I
mention he was a sensitive guy? Who makes observations
and has feelings.

Gaby Moreno “Still the Unknown” (gaby-moreno.com)
Ms. Moreno is the real deal — her beautiful voice, impactful
simple songs, and slinky phrasing transcend singer-
songwriter and pop princess clichés. This is a n impressive
debut.

The Morning Light “The Sounds of Love EP” (Fearless,
fearlessrecords.com) Moming Glory!

Motorama “Psychotronic is the Beat!” (Dead Beat)
Monster movie rock n roll if Joan Jett and Vampira were the
same person (and not just secret lovers as I’ve always heard,
but don’t tell anyone). This is SOOOOO good!

Mouse Rocket “Pretty Loud” (Tic Tac Totally) This is a
rodent explosion of serious pop rock that crackles like Pop
Rocks. Dangerous weirdness fondles dreamy beauty. You
will get rock n roll rabies from this and like it.

“Mrsavi pas presents Zarko I Branko” (Slusaj Nasglasnije)
Quirked me off!

The M’s “Real Close Ones” (Polyvinyl,
polyvinylrecords.com) The “M”’’s stands for Must get this
brilliant CD or you are a Musically-deprived Mindless
Moron!

Mustasch “Latest Version of the Truth” (Regain) More
metal than Iron Man's jockstrap! This Mustache ride is one
you should all take, and it’s worth wore than the standard 25
cent m-ride fee!

Narayan “a king declares strength” (narayan.us) Nara-
yawn.

Glenda Neace “Something About You”
(GlendaNeace.com) This is stellar country sung in a crystal
clear voice. I would go to her honkytonk every night.

Ness “You Can’t Afford to Feel” (nessmusic.com) Yess!

Tom Nickerson “Here in the Small Town” (Valnetine
Green) Green sings like late-era Clapton, plays guitar like a
Flecktone and sticks it to telemarketers in these jazzy rock n
roll songs. What more could you want?

Night Wounds “Allergic to Heat” Corleone,
corleonerecords.com) If there were pills that gave you
headaches instead of relieving them you would take them
gladly to simulate this band’s musical mayhem.

Nine Pound Hammer “Sex, Drugs & Bill Monroe”
(Acetate) This takes redneck rock and nails it to the porch!
As good as their legendary debut back in the last century.

No Kids “Come Into My House” (Tomlab, tomlab.com)
Should be called “No Kids Will Stay Awake if You Play
This.”

No Use For A Name “The Feel Good Record of the Year”
(Fat) I hope they have A Use For A Gold Record because
this gem will earn them one. This both rocks and rolls.

Olovni ples “olovne pjesme za olovni ples” (Slusaj
Nasglasnije, www.myspace.com/slusajnajglasnije) Ples is
pleasing!

Osaka Popstar “Rock’em O-Sock’em Live!” (Misfits)
Appealing to the comic convention nature of Misfits fans,
this band features a Justice League of America of punk
(Jerry Only, Marky Ramone, Dez Cadena, Ivan Julian)
backing up vocalist John Cafiero (if you want to figure out
who he is, here’s a hint: neither ‘Only’ nor “Wolfgang Von
Frankenstein’ are the Misfits brothers real last name). This
Halloween concert demonstrates nothing short of w:
please a specific crowd thoroughly, so original music is not
a priority. Cafiero basically plays live band karaoke on
Ramones and Voivods songs, and sings a couple of Anime
theme songs. And who’s complaining? Expect many
collectible variations of this record.

PacificUV “longplay2” (Warm.
Thewarmsupercomputer.com) “UV” must stand for ultra-
victorious” as these grandly understated soundscapes are
real winners!

The Pagans “The Blue Album” (Smog Veil) Diary of a
Punk by Mike Hudson (Tuscarora) A nice one-two punch
from a band you always expected to actually punch you.
The more groundbreaking of the two releases is Mike
Hudson's autobiography of the band, as it really paints a
vivid picture of an understandably under-documented scene.
What makes this riveting is how un-scene the 1970s
Cleveland scene is. And while it should seem tedious to hear
about lineup changes and crummy bar gigs, Hudson's
understated, casual writing style makes you really into the
minutae. The book ends with the band half-heartedly
reuniting for a Chicago punk festival just so they can go to
a Cubs game. A nice compliment is the live album which
proves that in 1988, a decade after we should be fascinated
with Pagans-isms, they were a kick ass live band, balancing
their “hits” and killer covers, and commanding the crowd
like staggering maestros. Super highly recommended.

Panama Jackoff “Pink Elephantiasis"(?) So punk it made
me vomit!

Panzer Talk “rain pounds glass” 12” ep (On/On Switch,
ononswitch.com) Modern Lovers meet Bread! Indie soft
rock with a quirky magic that made me feel like hip pixies
sprinkled me with bliss-afying enchanted sparkle dust.

Pataphysics “take a look out your window”
(www.businessdealrecords.com) The Texasness of these
transmogrified children’s performers (members are culled
from the twisted kiddie music band Telephone Company)
mpartially can be attributed to the fact that they reference
Red Crayola directly and Roky indirectly (some monsterish
lyrics). Their Texasness may in part come from their
maverick spirit and Kennedy assassination musings. But
where the Texasness of this group truly lies in a not fucking
around hardcore take no prisoners allegience to the “Keep
Austin Weird” credo. This remarkable record manages to
make genuinely strange, disturbing, freakish punk, futuristic
oddball music that somehow always manages to locate a
catchy pop sheen. Pataphyckin’ A!

Johnny Pate “Outrageous” (Dusty Groove) Many love Pate
from his short but memorable Blaxploitaiton soundtrack
composing career, but the Chicago arranger’s real legacy
was his work with the Impressions, where his very
significant contributions helped shape some of the most
genuinely brilliant pop records ever made. In the recent
direct to video Impressions documentary Pate is a majestic
figure in his interviews, explaining how his jazz background
had him a little skeptical of all the R&B acts he worked
with, but Curtis Mayfield and the Impressions genuinely
inspired him. This rare (I’ve never seen this record before,
and I am digging through moldy Chicago LPs every day)
1970 album is a funky foray into instrumental music that
splits the difference between Pate’s two legacies. A few
tracks genuinely sound like Curtis, Sam and Fred are about
to start singing any second, but most of these are just
straight up soundtrack music. If you feel like doing some
detective stuff or negotiating the mean streets, throw this in
your earbuds and all of a sudden you'll be an awesome dude
in a movie.

Pattern Is Movement “All Together” (Hometapes, home-
tapescom) Moving my stomach in pattems I'm
uncomfortable with.

Nathan Payne “Vampire Cats.” “Blinded by Faggots.”
“American Infidel,” Alcoholic Clown Records Sampler
(Alcoholic Clown, myspace.com/alcoholicclownrecords)
Payne is pleasure! A troubadour with a dangerous-one-man-
band vibe (you know, the kind of street performer you can’t
stop watching, but you fear might snap and kill you at an
minute) Payne makes his guitar jangle eerily and his lyrics
jar you poetically. Triumphantly creepy.

Lee “Scratch” Perry “Repentance” (Narnack) I have no
inkling if Perry is actually crazy or if he puts on an act for
various shrewd business and legal reasons. But | do know
that what makes his best records special likely cannot be
recreated, so this record likely gets as close as any can. Not
attempting to clone or fake a raw ska Studio One/Super Ape
production sound, this just gets spare and honest and slightly
strange and lets Perry's voice, preachings, and eccentricities
have enough room to skank and seek. This record feels
important and genuinely off kilter just like classic Perry. Not
sure if he needs to invoke the names of pimps, Mickey
Mouse, the Messiah, or Santa, Perry does know what he’s
supposed to do in the studio: fill the powerful negative space
of ska sparity with alchemist’s declarations. And he truly
comes through on what I already consider a fully successful
comeback album.

The Pets “Misdirection” (Static Impulsem
staticimpulserecords.com). It's hard to praise in words the
wonder that is sublimely perfect garage rock. Not too trashy
not too slick this is one of the best albums I've heard in a
while and the songs are Nuggets-catchy. This pet can walk
me!

Andy Dale Petty “All God's Children Have Shoes”
(Voodoo Rhythm) The most mellow Voodoo Rhythm
record ever, this presents old-timey country with such
reverence and mountain dignity that I moved to the
Smokies.

Shane Piasecki) “You're Here and I'm a Mess”
(myspace.com/shanepiasecki) Delicious pie—-secki.

Pionir 10 “Live” (Slusaj Nasglasnije) Nasty pie-—-onir.
The Pizzas “Bad-Ass Youth” ep (Daggerman,

daggermanrecords.com) This is so trashpunk it tastes like a
cigarette butt, rotten egg, and safety pin pizza! The best 7

inches you will take in this year.
Plasma “Arc Machining” (Slusaj —_Nasglasnije,
www.myspace.com/slusajnajglasnije) Robot pomo

soundtrack music.

Plastic Crimewave Sound “No Wonder Land” (Prophase)
While the hippie-dippy sensitive freak-flag flyers have
triumphantly become the bearded face of the new
Psychedelia, Herr Crimewave and crew have very loudly
quietly gone about their business of making some of the
richest, most muscular, thrilling-est psycherock out there.
This CD reissue of a hard to get vinyl treasure is a tasty treat
that will dissolve on your tongue.

pnde “fading away” (Slusaj Nasglasnije,
www.myspace.com/slusajnajglasnije~) Progressive
Noodling Disco Coolness!

The Polkaholics “Live - 10 Years on the Floor”
(polkaholics.com) Dandy Don has gone through a bushel of
polkahol abusers, but amazingly they boldly never change!
This raucous musical survey of their mighty catalogue not
only features cover art by our very own Gentleman John
Battles, but also all your favorite Polkaholics powerhouses
and some bonus classic rock polka-cized. Polkahellyeah!

Steve Poltz “traveling” (98 Pounder Records, poltz.com)
Should be called Steve Goldz, because these slices of
American lush pop are million sellers waiting to happen!

Ponytail “Ice Cream Spiritual” (We
nowwearefree.com) Ponyfail.

Are Free,

Possessed By Paul James “Cold and Blind” (Voodoo
Rhythm) This is so Old Timey it makes you nostalgic for
rampant disease, murder ballad killings and stillbirths. Don’t
knw how Voodoo Rhythm keeps finding these revivalists,
but at this rate they'll have someone playing a dinosaur bone
xylophone by 2013.

The Powerknobs “Tomorrow's Never Going to Come”
(powerknobs.com) Powered my knob with old time rock n
roll gone boom vibes!

pretty good dance
(myspace .com/pretty gooddancemoves)
soundtrack on brown acid.

moves

John Hughes

The Pretty Things "Balboa Island" (ZOHO Music L.L.C.
Saw Mill River Road, Milwood, NY 10546
www.zohomusic.com) Surely, the biggest disappointment in
Rock ‘n’ Roll for 2008 has been the cancellation of The
Pretty Things' US tour, with what would have been Arthur
Brown and The Malchicks in support. Those of us who
count ourselves as fans understand, and believe that they'll
come on that much stronger when they do return. In the
meantime, we have one gem of a new album, possibly their
finest, and if not, it stands tall with their greatest works. The
Pretties are creatures of habit. They make albums when
they're damn well ready, and if it takes about ten years to
complete one, TOUGH. The proof of their (blood) pudding
is in the eating. Just like their last effort, "Rage Before
Beauty,” this takes the listener on an enjoyable, if somewhat
bumpy, ride into the spirit of man (sometimes a very dark
thing, indeed). When it comes to carousing, and just plain
human suffering, The Pretties have just about any band beat,
but living on the edge guides the painter's stroke. From the
grey rubble of very bleak, and very real, visions, come the
many hues of inspiration, sometimes multicolored,
sometimes just blue. The tour of the year may be over, for
the time being, but the album of the year is here. When you
want to take in something that's a little more than just a
Rock record (but, rocks all the while), The Pretty Things
will take their own advice, and they won't bring you down.

Puzod “Imenice Su Glagoli” (Slusaj
www .myspace.com/slusajnajglasnije) PuGODS!

Nasglasnije,

Racebannon “Acid or Bl;ood” (Souther, sourthern.com)
This mopped me up with a mopbucket of acid and a
steelwool mop.

Radost! “oslabada” (Slusaj Nasglasnije,
www.myspace.com/slusajnajglasnije) Rad and righteous!

Ralph’s World “Rhyming Circus” (Disney Sound) A leap
forward for bar rocker tumed toddler toe tapper Ralph
Covert. I found his previous work kinda dull with a few
exceptions, but this circus themed kiddie candy is extremely
tasty. A fully functional alphabet teaching song, a joyous
ditty about “Edward the Tap Dancing Elephant” and a bad
kid celebration entitled “Folsom Daycare Blues” makes for
a raucous record. Perhaps Covert’s recent (riveting)
children’s book about a circus trailblazer inspired him to
step up to the center ring this time.

Ramblin’ Ambassadors “Vista Cruiser Country Squire”
(Mint) You don’t miss surf and drag intrumentals til they go
away for a few years and then you realize that ominous
guitars playing driving creepy reverbo-rock is just about the
best soundtrack your life could hope to have. 1 LOVE these
rambassabors. They can ram my ambass anytime!

KK Rampage “Without Feelings” (Big Neck) A rock band
falling down the stairs...into a trash compactor.

Random Touch “A Box and a Word” (Token Boy)
“Duologue” “Token Boy” Randull.

Rankin Scroo “Solid” (Crucialyouth.com) Scroo me, I
don’t like this at all.

Rebel Star “SO” —_(Slusaj Nasglasnije,
‘www.myspace.com/slusajnajglasnije) Rebelling against
being interesting.

Rectal Pus “Mr. T’s Nudist Colony” (Chaotic Noise)
Festering hardcore that would make G.G. Allin blush.

Red Cavalry “The Geography of Nowhere”
(redcavalry.com) This will shake your aches and groove
your tubes. Intense dance rock that makes you think with
your ass.

‘The Red Krayola “Fingerpointing” (Drag City) Let me first
say that this features my fave Red Krayola lineup — the
George Hurley, Dave Grubbs combo that danced around
with our puppet Ratso in the late 90s. Then let me say that
what was already a signature weirdo wonderland recording
(1999's “Fingerpainting”) has been made simultaneously
extra-arty and ultra accessible by a slick, strange Jim
O'Rourke remix. This sounds like a lot of hits played at the
same time so you can’t tell they are hits.

The Red Plastic Buddha “Sunflower Sessions” (Spade
Kitty, spadekitty.com) Large, magnificent, powerful rock
that avoids genre and pigeonholes and just makes you go
“hell yeah, I dig you brother.”

Reese's "Elvis" Peanut Butter Cups - It would seem like a
genius move to combine the wildly popular Reese's Peanut
Butter Cup with Presley's favorite snack, the Peanut Butter
and Nanner sandwich, at least in theory. What you get (if
they're even still making them) is the old fave with some
artifical goo made to resemble bananas added. Surprisingly,
the aftertaste DOES resemble real banana, which goes very
favorably with chocolate and peanut butter, making it
PB.C/T.C.B.! But if you can no longer find ‘em, may I
suggest, you get a banana and some peanut butter, fry ‘em
up in a pan (using butter or margarine, NOT vegetable oil.
Elvis wouldn’t approve) with the messy side up, frying
another piece of bread until it resembles French Toast, but
drop a Hershey bar on top before the bread slice turns to
toast...Then, put them both together, cook ‘em just a little
longer, then put some South in your mouth! But getting
back, the wrappers had some cool illustrations of either
Aloha From Hawaii or '68 Comeback Elvis (which, come to
think of it, would make a badass postage stamp!). Once
more, two great tastes that taste great together! And, if you
think Elvis had bad taste, remember, no less an authority
than John Waters said it first takes truly great taste to
cultivate bad taste.

Rehab Group “funky guitar land” (Slusaj Nasglasnije.
www.myspace.com/slusajnajglasnije) Rehabitat for
Humanity ...humans in the future!

Repertoire “moving on” (myspace.com/repertoire)
Dramatically pleasant, his is as indie pop as indie pop can
get!

Reptoids “Slayed” (reptoids.net) Holy shit — near-evil hard
and nasty punk (or maybe just rock) that is ten monster steps
better than their last release.

Reverend Beat-Man “Surreal Folk Blues Gospel Trash
Vol. 2” CD, “Surreal Folk Blues Gospel Trash Vol. 3” DVD
(Voodoo Rhythm, voodoorhythm.com) Volume two
continues to prove that the wrestler turned reverend trash
rock one man band is no novelty act -- his music is actually
genius and most of the individual songs are disturbing,
resonating masterpieces. This is driven home by the DVD
volume that presents a series of eerie, disturbing videos that
put the Rev. in grainy film stock, silent movies,
puppetshows, & stop action animation, all done by virtuoso
filmmakers. Obviously this dude isn’t going to become a
mainstream superstar — he loves ugly too much — but he
should be a revered international cult figure because this is
amazing work.

Rev. Bob & the Darkness “Gallows Hill”
(gosaveyourself.com) Alert Kunta Kinte and his ill-fated

drum — we have a new definition of “roots” music! And tell
church folk to throw their gospel out too as this reverend has
the gospel down to a science...or a creation if you prefer.

Pamela Richardson "Saint-Fortunat" (SteadyBoy Records
1607 Elmhurst Dr. Austin Texas
www.steadyboyrecords.com) She's been everywhere, man,
she's been everywhere, son. Pamela's been based in France,
Austin and Chicago. Her work reflects a lifetime of
experience in all three places. She sings with a moderate
French inflection that she may not even hear herself. Her
music is most assuredly Texan, though, not at the cost of an
overall "Sidewalk cafe" feel. Richardson's music is difficult
to pigeonhole, and, frankly. 1 wouldn't care to. She's not
Insurgent Country, she's certainly not a Rogers Park Folkie,
and she's not one of those cute girls you saw, ten tears ago,
pretending to be Suzanne Vega down at the coffee house
(she IS cute, though), Her singing style is sort of breathy, a
little bit deep, you'll think you have a melody figured out in
your head, and it'll go up when you expect it to come down.
She'll sing with the beat, over the beat, and even under the
beat. She is always in control, but nothing is forced. She'll
take you on a musical road trip, based on several real-life
roadtrips. A new voice for the 21st century, one that pulls
from 50s Jazz and 60s Rock stylings. It's fair to say she
could handle many tones and tempos, but here, we're treated
to a softer, more seductive tone. Aided by Cam King and
Freddie Kre from The Explosives, who play with a quiet
intensity, which is, perhaps, the best way to describe this
effort.

Davina Robinson “The Blazing Heart” (Plum Wine,
davinarobinson.com) Robinson's soul rock recalls the wild
woman magic of Betty Davis, right down to the histrionic
instrumentation backing up her mighty, fierce vocals.

Rocketship Park “Out & Away” (Serious Business
seriousbusinessrecords.com) Slowest, least explosive rocket
ever.

Rocky Velvet "It Came From Cropseyville!" Rocky
Velve/VRVM P.O. Box 1012, Troy, N.Y. 12181-1012
www.rockyvelvet.com www.myspace.com/rockyvelvet CD
Straight up, no frills Rockabilly, not of the Wild Records
"Recorded on equipment that was obsolete when JFK
kicked Nixon's ass in the primary debates" (Higher
recommendation you don't need) variety, but not as polite as
80% of what passes for Rockabilly today (I'm being KIND).
If you like the "Spot on musicianship minus pussywimp
delivery" of Deke Dickerson at his finest, these New York
(state) Rockers are just the ticket. Putting studio reverb to
good use, this is the first band in a long time that's
summoned up the spirit of Gene Vincent and The Blue Caps
at the mighty Capitol Tower, only, this time, King Kong,
transported from New York, is standing on top of the tower,
Mamie Van Doren in his sweaty palm, shaking things up,
and that's a natural fact. If you can remember the days when
there was a new Desperate Rock ‘n’ Roll or Sin Alley comp
every week and you WEREn’T the only person in your
crowd listening to 'em, Rocky Velvet brings the fillin’
(Charlie Feathers’ last dying request was that this word be
added to the English language) of wildness, with the right
amount of reverence, back to a medium that's suffered
severe identity crisis via comy revisionist fashion and Line
Dancing To The Sonics (1, myself, have witnessed this more
than once). A good band is just that, and Rocky Velvet isn't
pandering to the Rockabilly crowd, and, yet, it's pretty safe
to say the non-Rockabilly purists should take to it, as well.

The Rollo Treadway (therollotreadway.com) Synthesizes
every British Invasion since 1776 into a Mod-sterpiece!

The Romance Novels “Peggy Sue” b/w “Bikini Beach”
(HoZac, horizontalaction.com) It hasn’t been around for a
while so I can’t exactly remember what Horizontal Action,
the magazine that launched this record label, was all about,
but listening to this I’m pretty sure it covered rock ‘n’ roll
and some kind of movies..oh, I remember, Frankie &
Annette beach flicks! This will make you have sex, but only
as a metaphor for dancing.

Rosalina Mar/Trumans Water split CD (Robotradio,
robotradiorecords.com) Italy’s RM craft moving post-Kraut
Rock groovesters that knock TW back to their tragic home
of Homestead Records in the 90s!

Al Rose “My First Posthumous Release” (Monkeyb
Holding Peach, alrosemusic.com) This is a record for people
who like music. Not just roots music or country or pop or

singer songwriter or chamber poetry hoedown breakdowns
or anything else, but for people who actually like songs.
And like geniuses, With funny phrasing.

Elena Rose “Starlight,” “Destiny of Dreams” (Hitbound) A
holographic rose of the future blooming with scientific
music magic,

Rotted “Get Dead of Die Trying” (Metal Blade) This is the
first evil death band where the singer actually sounds like
he’s crawling out of a grave with a throat full of soil on
every song.

Rob Saffi & the Odd Breed (oddbreed.com)Saffi is better
than Raffi! Raspy voiced timeless rock n roll that only a
troll would not love. This is an instant classic.

SAHG “II” (Regain, regainrecords.com) This is so massive
and epic that it will doom you to Norwegian metal hell and
then resurrect you with rock glory so mighty it lights the
universe. It you might just bob your head really hard to it.

Saints & Lovers “Stille” (saintsandlovers.net) Redefined
“enchant.”

Sarandon “kill twee pop!” (Slumberland)
SaranJUSTGETTING STARTED!

The Scenics “how does it feel to be loved ~ the scenics play
the velvet underground” (Dream Tower, scenics.ca) Hard to
believe that this is actual an essential record, but it is. The
Scenics were a Canadian punk band circa 1976 and they
recorded a lot of their shows. Over their five or so year as a
band they covered ten Velvets songs, and hearing these high
intensity, innovative, sincere, lofi recordings is magnificent,
There is more room in Velvets songs than you'd imagine.
This ends with an epic cacophonous “Sister Ray,” but it’s
the more subtle transgressions on songs like “I'll Be Your
Mirror” and “Beginning to See the Light” that make this a
must —have,

SCH “Live” (Slusaj Nasglasnije,
WwwwW.myspace.com/Slusajnajglasnije) A live explosion of
oomph.

Science For Girls (scienceforgirls.net) Blinded me! Really
good, expecially the drum sound on “Northern Lights.”

Seger Liberation Army “down home” (Big Neck) Unlike
the other Seger act this actually remains dedicated to old
time rock n roll, and is also so dangerous sounding that I got
a protection order against this CD. Best record possibly ever
including the future.

Sepiatone “An Introduction to...” (Minty Fresh) What do
you call a youthful Nico? A Nico-teen!

The Service Industry “Limited Coverage,” “Ranch is the
New French” (Sauspop/Saustex) If all bar rock was this
good T would drink a lot more!

Seven Mary Three “Day&Nightdriving” (Bellum) Why,
exactly?

Shaleah “out of my life” (shaleahonline.com) Smooth but
grooving contemporary R&B in the Keyshia Cole but with
a lighter, more laid back approach. If you see her video look
for the KISS artwork on the mansion wall.

Shellshag “Destroy Me I’m Yours” (Starcleaner,
starcleaner.com) Sure it's fun to go to shows, but obviously,
almost by definition of the word “regular,” anytime you go
‘out to see acts you don't know you hope they're gonna be
good, but assume they are just a regular band. Which is why
it is so amazing to occasionally get sideswiped by a
Shellshag, my current most frenzied favorite. Though I’m a
little hesitant to compare them to Dead Moon because I
don't want to suggest that any band made up of a rocking
couple who seem to be older than actors on Smallville
recalls the magic of Fred and Toody, I think it’s fair to say
that the rock n roll abandon and pure joyful energy of this 2-
piece favorably compares to that band, though their
singularity may make them closer to Quintron and Pussycat.
Crafting simple (at times closer to nursery rhymes than
bedroom indie) tunes for raw(sometimes wailing) guitar and
stripped down drum kit, then performing them with a blend
of voices that is infectiously eerie, this band holds up on
vinyl (though it make take a few listens to get hooked). But

live you are not going to see a band give more, have a better
time, or make you happier.

Shift F7 “Crimson Diablo” (SML) Drop both F’s and the 7.

SHIM “Feel Like A King” (shimrock.com) This is the kind
of rock that reminds you of why rock rocks!

Shit and Shine “Kuss mich, meine Liebe” (Load) If this CD
could physically hurt you it would. It has no greater desire.
This is beyond noise, it is just majestically ugly sound.

Shit Eagle “Girls in School” ep (Florida’s Dying,
floridasdying.com) In the future “sounds like ‘Shit’ will be
a profound compliment thanks to this record.

The Shys “You'll Never Understand This Band the Way I
Do” (Aeronaut) Shynes! This is just about what rock n roll
is supposed to be,

Sia “some people have real problems” (hearmusic) Not my
cup of tea.

Silver Jews “Lookout Mountain, Lookout Sea” (Drag City)
Sounds like Lou Reed if he liked people. David Berman's
songs are very good; you should know that.

Thee Silver Mt. Zion Memorial Orchestra & Tra-La-La
Band “13 Blues for Thirteen Moons” (Constellation, ) Thee
Silver Mt. Genius Genius Geniustra & Tra-La-Genius Band
of Geniuses.

Simply Saucer “half human half live” (Sonic Unyon,
sonicunyon.com) It would be unfair to say to overstate the
obscurity of Simply Saucer. Though one would have had to
have lived in Hamilton, Ontario to have properly followed
the band in the seventies, hundreds of thousands of people
lived in Hamilton at the time, and Simply Saucer played
loud enough for most of them to hear. And despite their only
proper release at the time being a now thirty-year old single
released by Canadian zine editor Gary Pig Gold, Gold
probably had hundreds of friends to give the single away to.
But it is fair to say that this now-revered psychedelic punk
act was an unknown quantity when a compilation of their
unreleased recordings was quietly released in 1989, and you
still had to be an ultra-hipster to dig them until that LP was
reissued as Cyborgs Revisited in 2003. Since then folks have
been gushing over the band's combination of Velvet
Underground repetitious drive, Hawkwind-y sci-fi vision,
and Pink Floydian interstellar jamming (the band is named
after the Floyd track “Saucerful of Secrets,” a late-sixties
experimental epic whose dozen minute length gave these
Canuck cosmonauts permission for exploration, notably on
the new CD's “Clearly Invisible”). Guitarist Edgar Breu was
also a devotee of the Kinks, which may account for the pop
sheen that made several pundits belatedly declare their
cobbled-together album one of the most important Canadian
records ever. In advance of their first US tour the band
dipped deeper into the catalogue, recreating some of their
earliest compositions on Half Human/Half Live and adding
live versions of Cyborgs tracks. While the new studio
recordings lean a little towards pristine prog, the live cuts
promise are simply saucy!

Singer “Unhistories” (Drag City, dragcity. com) This whole
album sounds like a band warming up.

Sir Splendid “Sinister Purpose” (Rabbit Fighter) This
sounds like a normal solid indie rock release with a little
extra gas in the tank...then you listen closer. Everything is a
half step off, every lyricism slightly weirder than it’s
supposed to be, every arrangement shows an iota of
exhilarating damage. This is not a normal record, and thus
becomes a straight up awesome record. Kind of scary, but
seductive scary, like a hot witch lady, or black tar heroin.
Includes decapitation lyrics in case you didn’t figure out it
was dangerous music. Splendidly spooky!

Skipper “Ofanziva Bezumya,” “Cactus ina Bayshoe”
(Slusaj Nasglasnije) The sounds of spaceships..bt spaceships
that jam!

Skoljke “Camicie Nere,” “Cento In Boca” DVD (Slusaj
Nasglasnije, _ www.myspace.com/slusajnajglasnije) The
soundtrack to robots taking over!

Skretnicari “Banda s Mazuranca” (Slusaj Nasglasnije,)
Accordions can be mighty! Rock is good!

The Slackers “Self-medication” (Indication,
indicationrecords.com) Mediocre ska bands can stick around
for decades because it's hard to tell when ska is mediocre.

Slade "In For a Penny" (Shout! Factory Shout! Factory
LLC, 2042-A Armacost Ave., Los Angeles, CA 90025 .
www.shoutfactory.com) A truly effective collective of B-
sides, nearly forgotten LP cuts and rarities from a band that
found a formula for true Rock brilliance, but weren't afraid
to deviate from it, now and again. The former Ambrose
Slade emerged as (friendly) Skinheads in 1969, the year of
the Skinhead, and made their first LP as Slade, “Play It
Loud,” which featured a cover version of "Shape of Things
To Come,” an ambitious effort, with an unusual
arrangement, featured here. Nothing COULD change the
shape of things to come. "C'mon,C'mon" featured a catchy
riff craftily buggered from "Paperback Writer" and would
have been right at home on the Nuggets 2 box set (though
that honor should have gone to some of their rare, Kim
Fowley-produced, Freakbeat sides as the N'Betweens).
"Sweetbox,” like the former, could be interpreted as not
precisely psychedelic, but full of the same kind of bombast
and conceit as the best later UK Psych singles. The band had
plenty to say, and surely said it loud, before their glory days
of '71-'74, and subsequent comebacks. I'm sure to ruffle
some feathers (Slade had no use for Bolan-esque boas,
anyway), but to this day, I find "Slade Alive!" Their first
live LP, good, but not great. They still hadn't found their
identity, and, even though the atom bomb blast that was
their version of the Little Richard/Wayne Cochran party
stomper, "Get Down (and) Get With It” (featured on the live
LP, and wisely released as a studio single) formed the basis
for their massively popular raving looney super monster
Rock sound in The UK, the record, to me, is a bit uneven,
but a document of a larvae about to emerge from it's cocoon,
bigger, brighter and definitely brasher (Noddy did say
something about Mothra in "Far Far Away"). The
breakthrough single meant the world had lost a pretty good
Album Rock band, and, in it's place, an amazing singles
band. But their non-singles tracks are worth revisiting.
“How D'you Ride” is possibly their best LP track, capturing
all the gritty guitar crunch and hellbent harmonics of the
group's many, incredible, hit singles. "Move Over,” the
Popular Janis Joplin cut, is easily the best cover song Slade
did around this time, barring, possibly, a Sonics-worthy
version of "Just A Little Bit" by Roscoe Gordon (not
included, here). In 1975, the band was still coughing up the
hits, but relying on softer numbers like "How Does It Feel"
and "Far, Far Away,” both taken from the soundtrack to
their ambitious, if somber, feature length film, “Flame.”
Eschewing those obvious anthems, this collection, instead
features "Them Kinda Monkeys Can't Swing,” easily the
missing link between The MCS and The Ramones (whose
debut was a good year down the road). Pure punk energy.
"Let's Call it Quits" would be their last decent-sized chart hit
for quite a while. It chugs along at a medium pace, but still
has the mark of Slade all over it. I remember seeing them
perform it on "Twiggy's Jukebox,” a good two years after
the program originally aired in The UK. 1 watched the show

to see the ravishing British model introduce bands | knew
from several years before, like Fancy and, of course,
SLAAAAADE!!!...[t was just 1976, and their sound was
falling out of favor. Their solution was to tour the states like
mad, opening for the likes of KISS (who admitted to
copping a good bit of their stage act from Slade) and Black
Sabbath (Ozzy being an ardent admirer), even adding
(Horrors!) long guitar solos, but nothing worked, though a
very good second live LP resulted from their U.S. gigs. It
wasn't until a last minute decision to have them play the
prestigious Reading Festival, in place of Ozzy, in 1980
(after a long absence), where they destroyed everything in
their path, that their fortunes began to change. They were
releasing hard ‘n’ fast rockers, concurrent with The New
Wave of British Heavy Metal movement, that put any band
that fancied their chances to shame. Slade had found a way
to adapt their good time high energy formula to the 80s
without their sound losing it's balls. Far from it. If anything,
some of their strongest studio material, and definitely their
best live LP, 1982's "Slade on Stage" (not to mention two
devastating EPs from the Reading set), appeared at this
time. None of it is featured in this collection, however. In
fact, the early 80s, considered their true comeback in The
UK, isn’t covered here at all (nor was it really mined in the
otherwise perfect "Get Your Boots On,” also on Shout!
Factory). That is my only complaint - that, and the non-
appearance of the atypical, but outstanding, B- side, "Kill
‘Em at The Hot Club Tonight" -with this highly listenable,
and, surprisingly diverse collection that covers nearly 20
years of the band's career, Some people called ‘em a one-
trick pony, others had no clue that they survived, intact,
until 1991. Actually, a revamped Slade have performed and
recorded for years as "Slade II" (and continues to do so,
though they've legally changed their name to just "Slade"),
and, while their singer, Mel McNulty (who toured The U.S.
and Europe with Andy Scott's Sweet), is a fine Rock n" Roll
singer, NO ONE could take the place of the master blaster,
Noddy Holder, who has repeatedly turned down major
money offers to reform the original band (His TV and Radio
career is doing just fine, thank you), and, while the others
seem perfectly willing, a proposed return to Reading was
apparently nipped in the bud by Holder, who refused to
precede Bon Jovi on stage. Needless to say, the immensely
overrated Jersey Boys would have probably chosen to swim
across The Atlantic to get back home than follow Slade at
Reading. With outstanding liner notes from Roctober
contributor and Lava Sutra/Fancy Trolls alum, Dan Epstein,
and a great dayglo cover (that would have made a cool
poster), this is a great way to play catch up if you don't have
the original LPs or 45s, or if you do, and they're beat to shit,
or if you've noticed that it's partly the uneven nature of
many of their albums that made the singles stand out so
much. This could easily be a two or three volume series, but
it's taken nearly this long to even get a "Best of Slade" comp
released on an American label ("Get Your Boots on,
mentioned earlier), so, maybe, we shouldn't be so Oliver
Twist about it...except, when you hear it, you WILL want
more.

The Sleepers “comeback special” (Pravda,
pravdamusic.com) This is rock n roll at it’s goddamdest
best. This could be in the audio dictionary as the example of
what rock n roll is supposed to be. Hooks, solos, attitude,
and danger, this has it all, and some other stuff.

Slim Cessna’s Auto Club “Cipher” (Alternative Tentacles)
I guess because they are so fun live I always thought of this
as a kinda funny band, but this ain't funny, It’s jarringly
brilliant, Hauntingly strange. Eerily awesome. Far more
historical than hysterical. Cess-sational!

Snakeflower 2 “Talk About It” b/w “Runnign From The
Night” (Tic Tac Totally) Matthew Melton is meltin’ my
brain with his one man bedroom band magic.

Ben Sollee “learning to bend” (Tin Ear) Ben Soul-ee!
Officially a singer songwriter performing yearning beautiful
songs on a cello rather than an acoustic guitar is now the
official way to go.

Snakes/1-800-BAND split single (Slow Gold Zebra,
myspace.com/slowgoldzebra) Snakes side is seriously
screwy (in the Hip Hop ‘sippin sirup’ definiton of “screw”),
with slow, hazy, nasty awesomeness. There's even some
weird Jandek tone to the guitar. 1-800-BAND do the kind of
slinky songsmithng that falls somewhere between an anti-
depression-medicated Lou Reed (or maybe Buffett on
downers, but same diff) and the Jim Carrol Band. You will

want to be their number one fan (or maybe their number 800
fan).

Jon Sonnenberg “acoustic selections” (Old Man Records,
oldmanrecords.com) ACOOLstic!

Donita Sparks + The Stellar Moments “Transmiticate”
(SparksFly) L7 had a few stellar moments but often they
were better in concept than execution, the rare hard rock
singles band whose album cuts didn’t always cut it. But this
lighter than bricks foray into pop rock is pretty level from
point A to point Beat. Includes the best honey song not
involving a talking bear — and the song actually promotes
healthy dental habits as something attractive to the ladies.
I've never heard a lyric about “cavities” before and not
thought it was an orificial entendre. But she is really talking
about teeth. Sparktacular!

Speedknot Mobstaz “Mobstability Il: Nation Bizness”
(Koch) When rap starting getting Screwy and slow Twista
musta thought his record breaking syllables-per-minute rate
was losing value. Then he somehow ended up hooking up
with Jamie Foxx and Kanye and selling more records than
ever. But he still had his eye out for some slower flowing
posse members and he hit gold with this crew. And as far as
a Chicago crew giving the city a shoutout they seriously
come through on this album, as they list where to buy food
late at night, what parks to hang out in, and even Stony,
Throop, and what gangs hang out where. Way better than
Common mentioning the fight at the Hyde Park health club,
and I was at that party. Though Common riffing on
Supertransfers will never be topped.

Spiraling “Time Traveling Made Easy” (Dancing Pawn,
spiraling.net) Spirals into awesomeness!

The Stevenson Ranch Davidians “Psalms, Hymns and
Spiritual Songs” (TheDavidians.com) This redefines
“masterpiece.” And not the board game, but the thing Brian
Wilsons and Oasis-es make.

Stinky Lou and the Goon Mat with Lord Bernardo “12
Roots N Boogie Blues Hits” (Voodoo Rhythm,
voodoorhythm.com) Dirty Blues + Copious Booze + Filthy
Ooze = Bloooooze!

Chris Strawn “I left my hat in hades” (Drazzig,
myspace.com/chrisstrawn) Strawng medicine!

Suarasama “Fajar Di Atas Awan” (Drag City) OK, this is
lovely music, and the guitar (or ud or duf or rebana or stuti
box) playing on track three sounds amazing, But | really
don’t know what an ud or duf are, and while I’m not proud
of my ignorance, the fact that this sometimes grooving
Indonesian Ethnomusicolgistical romp is on Drag City and
not Folkways kind of makes me feel stupid and unhip for
not knowing, and that ain't cool. But this does sound good.
And it sure ain’t “freak folk.”

‘The Subways “Young For Eternity” (Reprise) Rocks harder
than eating Subway on the subway riding between stadia
during a subway series, Youthful and UK-ful, this is a fresh
approach to spoiling rock.

Sugar Stick “fairy dust and angel's __breath”
(hardkandyrecords.com) Sweetest stick you'll ever lick!
Weird druggy post-hip hop sounds that made me a little
tipsy.

Sump Pumps “Revenge of the...” (Bitrecords.com)
Fucking unbelievably perfect snotty futuristic trash pump
that gave me seizures. Sump-ing else!

Sunfold “Toy Tugboats” (Terpsikhore) Unfunfold.

Tallboys (of Kentucky) (???) This is the strangest soul
music ever recorded. Post-blues, post-soundscape, post-fake
blues, post-ghost music!

Teachers Pet (Smog Veil) Holy crap - how many
unbelievable Ohio punk bands that no one ever heard of can
there be? This 1977 pop punk act recorded a handful of
tunes that are so good (and also poetically good/bad) that
they seem like punk staples even though you've never heard
them before. Check out “Can't Do That,” “Hooked on You,”
and “Teenage Suicide.” These are sorta masterpieces that
are priceless. And I can buy a CD with all of these tracks on
it? And sloppy Herman's Hermits and Eddie Cochran

covers? And photos of ugly Ohio dudes in striped New
Wave clothes? YOU NEEEED THIS!!!

Team Rockit “Rockit Science” _—_(Fire-Tone,
firetonereocrds.com) Should be called Cream Rockit,
because this hard boogie rock explosion made me spooge!

Tea with Milk (T.W.M) This is so Jameriqoui that it will
make you forward moonwalk uncontrollably.

Teenage Bottlerocket “Warming Device” (Red Scare,
redscare.net) There’s something inherently terrible about
contemporary poppy punk, but I can say that this band
makes the inherently terrible tolerable with a sense of
genuine whimsy and actual conviction

The Teenage Prayers “Everyone Thinks You're the Best”
(teenageprayers.com) Demonstrates a profound
comprehension of genuine glam.

These New Puritans “Navigate navigate” (Domino)
Pure(itan) genius!

The Things “Wild Psychotic Sounds” (Big Neck,
bigneckrecords.com) This did wonders for my thing! While
one might argue that Cramps-ishness is pointless in the
wake of the actual Cramps running the course on Cramps-
ishness pretty early on, but the one that might argue that is a
fucking idiot because spooky trash rock rules forever.

The Thin Man “Spectres” (thinmansongs.com) Finally a
bridge between the worlds of dark cabaret creepy accordion
music and joyous weird clown creepy accordion music. The
Thin Asskicking Man!

3IKNOTS “Worried Well” (Polyvinyl) This record isn’t
awesome...KNOT! Sorry to get all Borat on you, but this
grooving elegant pop endeavor left me stupid with joy.

Gordon Thomas “Everything’s Coming My Way” (see
EVERYTING’S COMING MY WAY DVD review, and
know this CD matches up)

Throw the Fight “in pursuit of tomorrow” (Cordless) What
the fuck is up with hard rock bands thinking they can sing
like this? You don’t try to put whiny pop punk phrasing into
extreme music, and fuck the zillion records sold with this
exact singing --- it sucks!

Pat Todd and the Outsiders “Holdin’ Onto Trouble’s
Hand” (RankoutsiderRecords.com) Better than Bruce!

Stevie Tombstone " Devils Game" (Saustex) The
Tombstones, who were a sorta Country, Sorta Rockabilly,
kind of neither, band, heavy on the twang, capable of
making bigger inroads than they ever did. In the pre-Grunge
late 80s, when REM was a GENRE, and College Radio
defined tastes, it was difficult for any band with a few
original ideas to get a foot in the door. This, Tombstones’
singer, Stevie Tombstone's, solo effort (compiled from
various sources) should actually appeal to fans of REM (1
don't know how to say that without making it sound like a
putdown, but It does have the twang and strained vocalese
Buck and Stipe came by before they made their first
million), Tom Waits, and solo Nick Cave (has Cave's
moustachue finally washed ashore in Micronesia?).
Tombstone stands before you, basically butt naked, just him
on electric and acoustic guitars, with the occasional overdub
(Including some real tasty slide guitar that I could have
down with more of). You definitely get the feeling that
you're sitting around in a shabby one-room apartment with
big stains on the floor and a barely-working lightbulb
hanging from the cieling. If this is the kind of intimacy you
crave, but thought had died with Johnny Cash, well it's right
here. It's true, Tombstone sounded a bit like Michael Stipe,
back in the day, but his voice was far more clear and full-
sounding than the titantically overrated Stipe. His voice
sounds considerably hoarser, today (Stevie, not Michael
Stipe. If and when Stipe EVER sounds clear, it's studio
trickery), but he can still get some natural Country vibrato
going, particularly on "Til The Day I Die.” Things don't
really begin rockin’ in earnest until we get to "I Get So
Goddamn Lonesome,” with pumped up guitars and a
chargedup beat. It's commendable, that, as with The
Tombstones, the songs that do have drums, they're handled
with near-Rockabilly simplicity. In this age of Beat Beat
Beat Uber Alles, a lot of people can't even listen to a song
without drums, or drum machines, which accounts for 85%
of The Hit Parade. Stevie Tombstone does his thing, does it

well, you might find yourself digging it. If not, I imagine
he'll sieep like a baby.

T13C “We've Created a Monster!”
truefalserecords.com) T(errible)13C.

(True False,

James Jackson Toth “Waiting In Vain” (Ryko) Tothed it in
the trash, Too thlow for me.

Trash All Stars “Sound Robbers From Outer Space”
(Slusaj Nasglasnije, www.myspace.com/slusajnajglasnije)
Trash-tastic! Dub-le your pleasure!

Tricke “Oktud Tebi Slovo B” (Slusaj Nasglasnije,
www.myspace.com/slusajnajglasnije) Tricke is a treat —
asskicking cheerleader rock!

Triotri “Za Telivizore,” “Trio 3” (Slusaj Nasglasnije)
Freejazz drum punk that made me want to scratch myself.
Trouble Over Tokyo “Pyramides” (klein,
kleinrecords.com) Sorry, want to like it, but cannot.

Turi Fuka “Taze Hitovi” (Slusaj Nasglasnije) How do you
say “weird” in Coratian?

Turpentine Brothers (Alien Snatch, aliensnatch.com)
Peeled my paint! Trash rock that is not afraid to slow it
down or to crank it up, resulting in an LP that is positively
wicked (both in the New England slang sense and the New
England burn at the stake sense)!

24E “from stagger to wind” (Jupiter) Bette rthan the show
24.

Twin Tigers “Curious Faces Violet” (thetwintigers.com)
Wear nice shoes to listen to this CD, then gaze at them. And
even move your hoofs around....a little.

Uke Of Spaces Corners County “So Far on the Way”
(Corleone, corleonerecords.com) Audiolicious! This isn't
noise, it’s sound!

Unicycle Loves You (High Wheel) Catchier than a
juggler...on a unicycle...making love.

Unwed = Sailor = “Little = Wars” (Burnt ‘Toast
Viny|,bumtoastvinyl.com) So grand and epic (yet intimate
and sensitive) this sailor won't be single for long...snatch
him up ladies!

Bob Urh & the Bare Bones “Swamp O Delic” (Green
Cookie, greencookie.gr) This is the kind of pure rock n roll
that makes you glad to not be completely deaf and is so
good it makes the pinging and ringing in your ears disappear
for a couple of minutes at a time. Urh-gent!

Vancougar “Canadian Tuxedo” (Mint) I recently read that
he Jonas Brothers are a celibate Christian yersion of the
Strokes. Well this is better pop than the Jonas Brothers and
better rock than the Strokes. So maybe they are SUPER
celibate.

Victor Bravo “Sky Full of Messages” (victorbravo.com)
Victoriously rocking audio mess!

Kurt Vile “Constant Hitmaker” (gulcher,
gulcher.gemm.com) This is a one man somewhat
psychedelic pop genius band, and the dude seemingly
performs on very pleasant drugs that occasionally spike into
brief passages of ugly. Still, this is the closest thing to
Simon ad Garfunkel that Gulcher will ever release).

Nadeea Volianova “From Russia With...” (nadeea.com)
Better than Janet Jackson.

Volt “Man on the Ground” EP (Ho Zac,
horizontalaction.com) Creepy industrial trash rock that
lowered my sperm count.

Waco Brothers “Waco Express Live & Kickin’ At
Schuba’s Tavern” (Bloodshot, bloodshotrecords.com) The
Wacos are as good a live act as Chicago has to offer,
seemingly playing more sets a month than a wedding band
or a U2 cover act. Don’t know how to really describe this
awesome album other than saying it is better than those live
records you have by KISS, Ike and Tina and Peter
Frampton. This former-foreigner is the best American music

maker since George Washington splintered his teeth with his
Jew’s harp.

Warmer Milks “Soft Walks” (ADR) Curdled me.

Water Fai “Girls in the White Dream” (White Shoe,
whiteshoerecords.com) Kinda dry.

Lou Watson “Lone Star State of Mind” (Lou Watson
Productions) What a remarkable old time Opry voice!
Country-rific.

The Wax Museums “Claw You Like A Cat” EP (HoZac)
Absolutely awesome snot punk that made me want to slash
a teacher's tires.

Ween “the friends ep” (Chocodog) If you don’t mind these
bad boys acting nice-like, than perhaps this is their Ween-
iest!

Richard Lyons Weil “Happy Together,” “2008: | Am
Running For President,” “Krazy from Katrina,” “World War
II: My Father's Letters” (Weil Music Company) RLW is the
man, wether he's covering the Turtles, creating memorable
magic from archival letters, or displaying his patriotism with
a CD of political musings and music. I really appreciate his
ambition, and he sure sounds like my uncle!

Jordan T. West (jordantwest.com) Kind of a drag.
Westran “3 in the morning” (bshanrecords.com) Bestran!

We Versus the Shark “Dirty Versions” (Hello Sir,
hellosirrecords.com) This is the best car crash you ever got
into. “I Am A Caffeinated Corpse” is the best song title of
the new millennium.

What Laura Says “Thinks and Feels” (Terpsikhore)
Densely layered melodic treasures so rich they could outbid
Richie Rich on ebay for a 128 Track mixing board. Not to
say this doesn’t have a raw, minimalist sound, it just has a
slickly layered raw minimalist sound.

Whitechapel “This is Exile” (Metal Blade) Whirling wheat
thresher accident metal that pulped me.

White Savage “Destroy Your Style” EP (HoZac) So intense
it made me break all my teacups and liquor bottles. Skronks
‘without getting arty.

Why? “Alopecia” (Anticon, anticon.com) Why not? My
fave anticon act, this is actually good music.

Alexa Wilkinson “Lions”
Willwinsome...Grammys!

(alexwilkinson.com) Alexa

Laurie Keeton Wilson (LaurieOn-Line.com) Wilson’s
earthy, gritty country vocals balance Nashville slick and
honkytonk realness.

Alex Winston “By The Roots” (pratdral) | am actually in
love. I promise I won't stalk, but this record is magnificent
and everything about Alex oozes awesomeness. You will
not be able t get these songs out of your head.

Win Win Winter “A Brief Hisrtory of...” (24 Hour Service
Station) A win win winner! With a big (but gentle) wiener!

Jenny Wolfe & The Pack “s/t” (SteadyBoy
steadyboyrecords.com jennywolfeandthepack.com
myspace/jennywolfeandthepack) Of the many young bands
Freddie Kre has had the pleasure of teaching songs like
"Pushin' Too Hard,” "You're Gonna Miss Me" and “Don't
Slander Me" (the Holy Trinity of Garage Punk) in the
Austin "School of Rock" program, his pride and joy is Jenny
Wolfe & The Pack, all still under 16 when this recording
was made, two years ago. I could say something catty like
"Pretty good...For kids..” but the band proves to be
accomplished musicians for ANY age. Largely acoustic, but
not lacking for a beat, The Pack comes across with a clean,
commercial sound that's (Dare I say it?) a little bit Country,
and a little bit Rock n" Roll. Jenny shows unbelievable
maturity as a vocalist, drawing from Sheryl Crowe and
(early) Linda Rondstadt, with a confidence that's all her
own. Not surprisingly, she handles the Mike Nesmith-
penned Linda Rondstadt hit, "Different Drum" as though it
were her own, but with all due respect to the original. I wish
I could say the same for the way Rondstadt later wrecked so
many Rockn’'Roll classics, but Wolfe covers a half dozen

other Rock standards how a younger, pre-fame Linda
COULD have handled them. Songs like " Shakin’ All Over,”
"For Your Love" and "You Baby” (turtles) are rendered
lovingly and never taken to extremes. If Freddie Kre has
anything to do with it (and, whatta ya know, he DOES),
more young people will become acquainted with the work
of his bandleader, Roky Erickson (Cam King,
Roky/Explosives ' guitarist, makes a guest appearance with
Krc). The Pack performs a sincere, and heartfelt, version of
"Starry Eyes" that surely had Roky's heart grow three times
it's normal size (and, he's got a pretty big heart to begin
with!). Kre contributes several original songs that Jenny and
The Pack handle just as aptly. "In My Head,” yes, is what
Little Steven would call "Slightly Psychedelic,” beginning
life as a quiet acoustic number, but quickly picking up a
head of steam. "Room 81,” also by Kre, alludes to a
mysterious room where the music and the party never stops,
BUT it is, by no means, to be mistaken for a potsmokin'
song. Chances are, if you find your way to Room 81, you'll
be met with nothing stronger than ice cream, held aloft from
Roky's hand. Now, you all probably know that established
"Alt-Rock" figures are making a killing doing kiddie shows.
I think it's safe to saw Jenny Wolfe and The Pack will be
doing just as well, playing to audiences comprised largely of
adults.

Woodhands “Heart Attack” (Paper Bag) Electro-future rock
grounded in the garage (the garage for your rocket ship).
Gave me wood!

Woven “Designer Codes” (wovenmusic,com) Not so much
haunting as haunted...sounds like aghost took over my CD
player!

Wrongkong (minty Fresh, mintyfresh.com) This is so good
I am moving to California where it will certainly soon be
legal for men to marry compact discs.

Yokohama Hooks “Tum On” EP (Tic Tac Totally) Should
be called YokoHamas, because this blew me up! Jaggedly
angular punk wave that shakes you by the shoulders.

The Yolks “Wandering” ep (bachelorrecords.com) Yolk it
up with these local yoke-els. Like Billy Childish with
speech therapy, this is the good stuff.

YOUNGANDSEXY “The Arc” (Mint) Apparently
sounding like you are singing in a cave in the next county
while delivering wistful mid tempo pop is what the young
folks consider sexy. Fortunately for me I’m grown and sexy.
Put on “Stroking” and pass me a Old Forester!

Young Boy (Olympic) He might be young, but he has a
grown and nasty molasses flow,

Zeno Tornado and the Boneu Google Brothers Rambling
Band (Voodoo Rhythm) The best country album of 2008!
The best country album that involves drinking one’s own
blood ever!

Zero Child “Play Loud N Fuzzy!” (Basement Blues) I've
personally seen fuzz on my trash (especially during my
annual fridge cleaning), but this is the most fuzzed out trash
T’ve ever experienced.

VIDEO/MOVIES/TV

Alien Nation TV show (see GENA MASON music review)

The Alkaholiks “Live From Rehab” (MVD) Drink and
smoke and party your ass off!

April Wine “Live in London” DVD (MVD) If you had
asked me to name killer rock bands from now until the
Rapture I probably would have forgotten to mention these
Canadian rocker stadium rockers. But as this mighty video
reminds me, I would have been wrong, as this is epic and
awesome. At one point, using the best 1981 special effects
available, the band even rocks out while fighting Space
Invaders (after training on an Asteroids machine). Take a
slug of this Wine and you’ ll feel mighty fine.

Attitude for Destruction (MVD) Aural Amphetamine:
Metaliica and the Dawn of Thrash DVD (Sexy Intellectual)
What is worse, a no budget horror gore flick about a band in
half-assed Guns ‘n’ Roses costumes that is stalked and
killed by zombie Axl after they kill him (at the record
label’s indirect behest), or a no budget, unrevealing talking

head documentary (the third or fourth in G&R from this
same production house). I'll have to go with the horror flick,
because even though its cheapness resembles joyless porn
more than the kind of innovative no-budget super-8
homemade gore films kids made in the 70s, at least it has a
blowjob decapitation.

The Beatles Destination Hamburg DVD (MVD) The
excuse for this non-essential DVD is that it contains “never-
before-seen footage,” although it is primarily allegedly
Beat-era German crowd footage that doesn't include shots
of any Beatles, and some of it I’m pretty sure is new footage
faked to look old. Of course public domain early 60s Beatles
interview footage is always entertaining, and there is some
insight here as they interview Tony Sheridan, who worked
with the Beatles. But that is negated by this no-Beatles
music DVD being bogged down with super-bluesy Sheridan
tracks that invoke nothing relevant.

Bill Monroe Father of Bluegrass DVD (MVD) This 1993
documentary, fortunately shot before the Grand Ole Opry
faced its current “Who's Gonna Fill Their Shoes” quandary,
this not only features the late Monroe, being interviewed by
the late John Hartford, but also the late Roy Acuff, and for
non-C&W measure, the late Jerry Garcia. Giving a fantastic
overview of the Opry before it was” the Opry,” (Monroe’s
was one of the first acts with vocals, Acuff, Minnie Pearl
and other legends joined in his immediate wake), Bluegrass
before it was Bluegrass, and the classic radio days of the
thirties. The fantastic music shines here in archival and
current concert footage, and Monroe's personality is really
revealed as he converses casually with Hartford. In an
unrelated note, | once almost walked out on a Ricky Scaggs
concert because of all his homophobic jokes, but looking at
his 93 hair and demeanor, that guy has to be gay.

BURN TO SHINE SEATTLE, WA 01.27.07 (Trixie,
trixiedvd.com) I now respect Eddie Vedder.

Carlos Mencia* *Performance Enhanced (Comedy
Central) I'm convinced Dane Cook has cut a deal with
Comedy Central that requires them to keep promoting
Mencia so that distinguishing comedy fans can never brand
Cook the worst comedian on earth. It would take far to long
to describe everything wrong with the tutorial on
unfunniness, but since some folks like it, apparently
(everyone | know always wants to talk about why his TV
show is not funny, but Ozzie Guillen of the White Sox says
Mencia is his fave comic), I'll just say he is not to my taste.

Composing the Beatles Songbook DVD (Pride) Unlike the
previously reviewed Destination Hamburg DVD, this made-
for-DVD documentary features a few snippets of actual
Beatles music (live versions by the Beatles, and a few
covers), which is good, because trying to dissect the
Beatles’ songwriting sans songs would have been a chore.
Far from groundbreaking, this is a good Beatles 101 primer,
with familiar _ talking heads pointing ~— out
tensions/competitions between John and Paul, Dylan's
influence, and other widely reported elements of the Beatles
legend. Waming: Ringo and George fans — stay away, they
are not mentioned!

Corleone: 10yrs everything i own is broken or bent DVD
(Corleone, corleanerecords.com) It would be lazy to call
Corleone a noise label, as this incredible video compliation
makes clear. | mean, Mahi Mahi’s makes damaged dance
music, Mindflayer offers epileptic classic rock, Loma Doom
boils hip hop down to something or another, Jacon Berendes
crafts fractured folk music, and Frank Difficult creates, well,
noise I guess. What is most impressive is how creative,
beautiful and enchanting these no budget music videos are.
What, do they have some kind of art school in Providence?

Dead Boys “Return of the Living Dead Boys — Halloween
Night 1986” DVD (MVD, MVDvisual.com) There was a
time when collecting videos meant tape trading 10°
generation, crummy looking, glitchy VHS tapes of poorly
shot single camera concert footage of your fave cult band.
And you LOVED it. Thanks to MVD now we can go to the
store and purchase a commercial DVD of 10" generation,
crummy looking, glitchy mastered-from-VHS poorly shot
single camera concert footage of our fave cult bands...and
we STILL LOVE IT! OK, this doesn’t look great, it’s
grainy, and Stiv had some ridiculous fucking hair in 1986,
but this sounds so good, and nothing is more punk than a
shitty looking video. They open and close with “Sonic
Reducer” and Stiv teases Jeff Magnum and they cover the
Stooges and Joey Ramone emcees and you will love this
crummy looking masterpiece.

DAL. “The Suburbia Sessions 1983” (MVD) Let me school
you non-elderly punksters. Back in the day there were
several punk VHS companies. Target video meant quality.
Atavistic meant somewhat pretentious but pretty decent
product. And Flipside made videos for...well, | guess some
undiscerning kids in LA, I personally didn’t know anyone
who had any. They were shoddy and boring, and thus,
reissues are not a cause for celebration.

Don’t Forget the Motor City DVD (Weinerworld/MVD)
Zillions of comy clips of (many non-Motown) R&B acts,
including Branson-era lineups of the Supremes, Miracles,
Marvelettes, Spinners, and Contours, and a number of more
obscure heores like Popcom Wylie, Bettye Lavette, Pat
Lewis and Ivory Joe Huner. Better than those stiff PBS
specials, but not much better.

Earache My Eye DVD, Immortalised - Earache Records
1986-2000 DVD (Earache/MVD) Sixteen years ago when
we started this magazine Earache was the apex of metal-ism.
I recall seeing a pit at a Napalm Death/Godflesh show that
was so violent I was thrilled with fear. And bands like Bolt
Thrower, Carcass, Pitchshifter (who we once called
Bitchshitfit, but not as an insult), and the elegantly satanic
Morbid Angel genuinely redefined the word “brutal” before
that descriptor became to metal what “fabulous” is to gay
stuff. Not sure what happened to make Earache less crucial
(the blackmetal decapitation incident? Rap metal ruining the
genre?) but watching these videos made me feel once again
audio raped by one of the great labels of the 80s/90s.

El Vez “Gospel Show in Madrid” DVD (Munster) This is so
amazing! EL Vez has transcended novelty by completely
embracing it. His shtick seems like a limited gimmick, he
alters Elvis songs to make them have Mexican-themes. But
his secret weapon (in addition to looks, charisma, and
dazzling stage presence) is his encyclopedic knowledge of
music and comedy, continuously making pop culture
references that run three or four levels deep. His awesome
band, god-rock themes (Iggy Pop's “Lust for Live” becomes
“Lust for Christ”) and costume changes (he laps Diana Ross,
if you know what I mean) earn him the undisputed title of El
Rey. Bonus features include German and Canadian TV
appearances (with a Dave Foley cameo).

Everything’s Coming My Way DVD
(www.gordonthomas.com) This DVD is of one of my fave
docs form the last few years, and contains some great bonus
extras (deleted scenes and Chic-A-Go-Go footage). There
have been a number of documentaries and TV shows, even
plays, over the last few years about outsider musicians,
those fringe figures whose unique, often challenging,
songmaking seems to demonstrate a disconnect from the
music world, and at times, reality. Often, not always by
design, the movies are more about their subjects’ hip-in-the-
know audiences than they are about the artists. The Jandek
film almost exclusively focused on his cult, and the Wesley
Willis music documentary (not the current art documentary)
exposed the differences between his exploitative music
fans/collaborators, and his supportive actual friends. This
documentary about a mysterious New York music maker

has the noble goal of really wanting to paint a portrait of an
interesting man who has led a long life that has been both
modest and grand. Gordon Thomas has lived (mostly by
himself) in various states of humble existence since
imigrating from Bermuda to Harlem the better part of a
century ago. His vibrant personality has served him well
over his nearly-90 years, and led him to a stint in Dizzy
Gillespie's band (which he eamed more on likeability than
musicianship) and to his long career in the fabric biz (which
led to his love for sharp clothing). But most interesting is his
unique faith in god, which allows him to not only look
towards the next world for his rewards, but also has given
him the divine inspiration to write hundreds of original
songs since the 1960s. Recording and self-releasing
numerous LPs, tapes and CDs over the decades, Thomas
received virtually no attention, so instead of tuming to the
members of a non-existent hearty Thomas cult, the
filmmakers have to tum to a mere handful of musicians and
DJs (at WFMU, naturally, the home of Mr. Outsider Music,
Irwin Chusid) to champion the vocalist/trombonist. It’s
pretty easy to convince the viewers what makes Thomas
special. His recordings feature decent bands performing
unusual jazzy compositions with Gordon's very distinct
singing and lyrics atop them. His vocal pitch, timing, and
phrasing sound wrong, even bizarre at times, and his
repetitive lyrics sometimes seem so oddly simplistic that
they are offsetting. Yet the sweetness of his sentiments, the
sincerity of his delivery, and most importantly, the strange
but competent musicianship of his overall compositions
make the songs really wonderful. The filmmaking here isn’t
flawless. Early on they present the idea that their personal
search for the elusive Thomas will be an important theme,
but that falls kind of flat and is abandoned, and some of the
intervie could have been edited or expunged
(interviewees at times seem too familiar with how they are
supposed to sound in a documentary like this). But overall
this is a wonderful film because Thomas’ classy, friendly,
personality is infectious (and his suits are too dapper). Most
importantly, you definitely are convinced that the people
who like his music, including the filmmakers, genuinely like
his music and aren’t laughing at him. And more importantly,
they (and, consequently, you the viewer) genuinely like him.

The Gods of Times Square DVD (MVD/Brink Video,
brink.com) This documentary is absolutely stunning, one of
my all time faves, Shooting in Times Square during the
Giuliani era of cleanup and gentrification would seem to be
something that would be all about the Disney-fication of the
(now former) smell-of-sperm capitol of America. However,
the only time this doc sucks is when an ironic, unfunny
performance artist does a shtick at the Disney Store. Instead
what this is really about is the beauty and power and magic
of street evangelist eccentrics, including Christians, Hassids,
Hebrew Israelites (and not the Chicago variety, but the super
hateful, Conan the Barbarian-attired NYC version) and
others, What makes this documentary so successful is that
despite the filmmaker thinking he is an
artis/documentarian/hipster-esque dude, he spends years
and countless hours on those streets until he becomes as
eccentric a fixture as any of his subjects. Cheap Video-
camera Man must have been as familiar a sight as the
preachers he turns his lens upon. This allows him to actually
establish relationships and have genuine conversations
(filmmaker Richard Sandler's voice and questions making it
clear how unslick and weirdo-Times Square-appropriate he
is), none more compelling than with a rock n roll Jesus who
may or may not have mental issues, but is unquestionably a
great dude to hang with and talk, and a dude who comes to
genuinely dig Sandler. Ultimately this isn’t so much about
Times Square (the sex industry is less present than it should
be) but about capturing a type of human interaction that had
an interesting theater during this period of urban transition.
You need to see this.

Hanoi Rocks “The Nottingham Tapes” DVD (Cherry Red)
Who doesn’t want to see Helsinki glam action shot on a
multiple camera (with Mr. Monroe always at a dramatic 4
shot) and featuring a lively club performance bookended by
CCR and Ramones covers? 1984 got a bad rap, and this
band obviously got a bum deal.

Hip Hop Time Capsule - The Best of TETV 1994 DVD
(MVD) OK, rap music used to be better, and you will love
this, and if your teen ward only likes ringtone rap, make him
watch this.

Inside the Smiths DVD (MVD) I had low hopes for this
DVD which is based around interviews with Mike Joyce
and Andy Rourke. I mean, would you want an AC/DC video

featuring only Cliff Williams and Phil Rudd, or worse yet,
the Aerosmith story as told by Tom, Brad and Joey. Also
suspect was the fact that MVD packages a lot of British
produced hit or miss cheapo unauthorized musical bios. But
in a pleasant surprise, unlike the “In Review” series, this is a
thoughtful, focused composition that responds to its content
rather than trying to fill the allotted time limit with odds and
ends. And despite the production being way cheaper than an
“In Review” DVD (no licensed footage or music at all, most
interviews seem to be done kamikaze style at events where
older or newer Brit rockers just happened to be) the
heavyhanded, but rather effective, use of pretentious arty
shots and video effects makes this C-move seem fancier
than its B-movie brethren. Obviously hearing two lucid,
intelligent, funny guys dish Morrissey dirt is going to be
choice, but more importantly, this really gives a feel for
what it was like for these dudes to be in the Smiths and
experience everything form the beginning, and they also are
pretty candid about how as non-writing members of the
band they really didn’t understand what was going on the
way Moz and Marr did.

Itty Bity Titty Committee DVD (Wolfe) No surprise this
was a huge it on the festival circuit. First of all it has a one
sentence pitch “Ugly Betty becomes a radical lesbian
terrorist.” Of course, Melonie Diaz is far from ugly (anyone
see “Be Kind, Rewind?”) but here she plays a low self-
esteem plastic surgeon's receptionist who falls in with a
strangely 90s-esque group of lesbian activists (Bikini Kill,
Le Tigre and every early K grrrl band make up the
soundtrack) that have her going punk rock and spraypainting
her room and undermining her boss. Though she’s trulty
become politicized, she’s doing it all for the nookie, and
there's some interesting feminist vs. post-feminist politics
here, and some innovative civil disobedience and property
defacement enacted by the group. But most of all, the movie
is funny, upbeat, has a happy ending, and features a ton of
attractive skinny women. Even the transgendered moustache
girl is hot. This is an inch away from seeming like dudes
were involved, but it never moves that inch. And who can
fault filmmaker Jamie Babbit (Bur I'm A Cheerleader) for
wanting a broad audience. This fun film deserves it, and if it
turns a few teens into 90s radicals, good for it.

Jadakiss “Kiss of Death Tour 2005” DVD (Charly/MVD)
In the keep it real realm of hip hop nobody seems realer, or
at least more regular looking, than Jadakiss. Though he is a
little dragged down by hype men and crew members on
stage during this Euro concert (there must be a half dozen
dudes up there) because Jada’s skills are so superior, I still
dug this. Note: I never had a chance to declare this back in
the day, but Puffy changing Jada’s group the Warlocks’
name to the LOX is one of the dumbest moves ever...lox
are smoked salmon, which is only moderately hip hop!

Ja Rule “2005” DVD (Charly/MVD) This is not terrible
because Ja Rule is kinda weak but because the almost
comedic oversaturation of video — effects/overlaid
images/video effects makes this look like a bad Powerpoint
presentation.

Buddy Miles “Changes” DVD (Charly/DVD) OK, first
things first, Buddy Miles proves himself on this DVD to be
awesome and a great singer. Now for the negatives. This is
not, as the title or cover implies, particularly connected to
the “Changes” album, instead it is two concerts allegedly
from 1995 and 1996 (though that would mean Buddy was
the last guy wearing an Arsenio-era haircut by a good five
years), This is also not, as listed, a proper “Tribute to Jimi
Hendrix” (the long "95 set ends with three Hendrix numbers,
but that’s it). And the bonus “documentary” is just a
German guy with a handicam interviewing Buddy and his
90s combo (though Buddy comes off as a good guy and
good bandmate in that interview). Worst off, the longer
concert has a pretty plodding band supporting Buddy, not
the most pleasant listening experience. Far more enjoyable
is the "96 half hour-long two song set that features Buddy on
guitar exploring the heavens in “Bom Under A Bad Sign,”
then singing an epic version of “For Your Precious Love.
This is only for diehards, but because f the '96 set, diehards
will dig thoroughly.

John Oliver: Terrifying Times (Comedy Central) See,
Oliver can make fun of politics and his jokes sound extra
absurd because he’s got an English accent, and we don’t
expect proper sounding people to be ridiculous! The week
before this special debuted Oliver did a long, lush
production bit on The Daily Show that was an over the top
parody of a conservative Fox News talking head pundit

show. But it wasn’t anything like Colbert Report...because
he’s got an English accent, I actually think he’s seriously
funny, but I’m just a little weirded out by how much of a
gimmick his nationality is...it’s like a midget making short
jokes.

Lewis Black's Root of All Evil (Comedy Central), Lil’ Bush
(Comedy Central) For a few weeks in the early nineties,
until a high profile racist assault outside the stadium likely
led to a parental ban, I sat in the upper deck of Comiskey
Park next to an eleven-year old black kid who used to
philosophize in strange but sincere near non-sequitors. The
one that has always stayed with me has been his declaration,
“I can’t explain why, but I’m obsessed with stand up
comedians.” I begrudgingly agree with him. The fact that
they rarely make me laugh does not change the fact that I
am drawn to, and ultimately root for, these seemingly sad,
desperate, lonely people who often possess considerable
talents for joke crafting, but almost universally display
remarkable gifts for allowing themselves to be vulnerable
for failure. And the Comedy Central cable channel, with its
sort-of studio system, has a batch of these dudes and
dudettes that it feels similar sympathetic for, but more
importantly, wants to make into stars. But other than putting
them on a fancier set than the traditional brick wall for a
stand up special, they just don’t know what to do with these
sad clowns. Trying to find a forum for funny guys that falls
outside of a traditional sitcom has proved problematic, and
despite drawing on some of their funnier fellows, this new
offering is just about the worst. Sure, the acerbic Black, and
the always-on Greg Giraldo, crack some god jokes, but the
debate format is so awkward and stupid that if I saw this on
late night Comedy Cnetral I'd be relieved when the 8-
minute Girls Gone Wild commercial came on. Of course,
the other resource Comedy Central has is a legacy of
actually funny cartoons, some of which have draw upon the
cache of comics (Dr Katz). But it's South Park that has
established benchmarks for fearlessness and outrageousness
that give other shows something to shoot for. So what is the
excuse for Lil’ Bush? Arriving in the meaningless lame-
duck final quarter of the Bush administration, the so-
irrelevant-as-to-be-cowardly show simply should not exist.
If this was a ninety second Youtube video, okay, it’s funnier
than Smosh, but turning the Bush characters (including, of
course, Rumsfeld over a year after his exit) into little kids
(without any little kid characteristics) is so lame that it I'd
rather watch Fox News.

Lydia Lunch “Video Hysterial 978-2006 DVD (MVD) This
DVD opens with two sets, a '78 Teenage Jesus and the Jerks
show at Max's and a 1980 Ne wYork gig by 8 Eyed Spy, an
they are no-budget, low quality dubs of poorly shot video
featuring Lydia basically screaming like wounded banshee.
This is why you need t see this video. When her jet-black
goth crown turns turns red and she starts playing with
professional sounding bands and getting filmed well in the
90s it is still impressive, but more mortal. And by the 21"
century (black-tressed again) she seems to be playing to
grand audiences on huge stages, (though she in no way
seems to have compromised her eerie music). But for the
dozen no budget tracks that kick this off you need to
consume this Lunch.

Man “At the Roundhouse 1976” DVD (Voiceprint) Bland.
Damn it’s boogie-ish in here.

Metal Mania 2007 DVD (MVD) Sepultura, Entombed, a
dozen other bands, and a bagpipe metal band rock a
massive festival to the point of critical metal mass. Metal up
my ass!

Mudhoney “Live at El Sol” DVD (Munster) I normally shy
away from the extreme laziness of quoting press releases or
liner notes, but in this case the blurb is so accurate we can’t
resist. The back declares “(t)he urge to experience an actual
gig is a real side effect which may occur during or after
viewing,” which is exactly what happened...this DVD made
me go to the concert the next week! There are two very
important thing to remember about Mudhoney: first of all,
they are certainly the founding godfathers of the
Seattle/grunge scene (if not as Mudhoney, in their previous
incarnation as Green River), and secondly, they are not
responsible for everything you don’t like about the grunge
(except for maybe the hair and the button up’shirts, guilty on
those counts). While other bands brought a hybrid of
moody low rent Neil Young/low impact metal, and sloppy
bar to punk clubs en route to conquering stadium stages,
Mudhoney made genuine Sonics-style garage rock, drawing
upon the Pacific Northwest’s second greatest rock legacy,

after Hendrix (third if you count Bruce Lee's influence on
Elvis’ stage moves). Their “Touch Me I’m Sick” single (a
full twenty years ago) remains the best Sub Pop record, a
sloppy Stooge-ish, fuzzed out absurdity that helped bury the
hairspray and wankery of hair metal. This DVD captures
their mangy magic.

The Nomads “Live In Madrid” DVD (Munster) Better, but
not far removed, from straight up bar rock, this is a nicely
shot document of a band that is comfortable on stage just a-
rockin’.

Onyx “15 Years of Videos, History, and Violence” (MVD)
Give this act credit — they developed a style — a screaming,
bizarre, apeshit, angry style - and kept with it. The fact that
a hip hop act actually innovated a new style of rapping is
genuinely something, but the commitment is what really
impresses, These music videos are actually pretty great, no
half-stepping here. While you may recall “Slam” or even
“Bacdafucup,” it's the vids you've never seen that kill ya.
Playing hockey (and most of them can skate) with 50,
rocking out with Biohazard, and doing the super cat burglar
thing with the Wu are all worth screaming and moving your
head around side to side really fast over.

Pancake Mountian Episode 9 & 10 DVD
(pancakemountain.com) Hipster bands playing for
preschoolers, kooky karaoke, a disturbing cross-eyed
superhero, and guest appearances by Chic-A-Go-Go make
this DVD DVDelicious!

Reverend Beat-Man “Surreal Folk Blues Gospel Trash
Vol. 3” DVD (see REVEREND BEAT-MAN CD review)

Robson Arms Season 2 DVD (VSC, robsonarms.com) 1
thought I liked the first season of this ambitious comic soap
opera/anthology about the barely intertwining lives of the
life-challenged residents of a Canadian apartment building,
but after watching season two I realize I love it. 1 am
actually jealous of Canucks who get to see this every week
as I now am eagerly awaiting the season three boxset next
year. This is one of the most sophisticated, sublimely acted,
genuinely funny series going. Because it shares actor,s and
it is in US syndication, this made me watch the seriously
inferior Corner Gas.

Snoop Dogg “Drop it like it's hot” DVD (Charly/MVD)
First of all, Snoop has genuine charisma and stage presence,
and this concert video makes it clear that he deserves to be a
superstar. It also makes it clear that if Belgians were once
unsure of the proper usage of the terms “motherfucking”
and/or “nigger,” after February 2, 2005, that is no longer an
issue.;

Still We Ride DVD (Microcosm), The Chainbreaker Bike
Book by Shelley Lynn Jackson & Ethan Clark (Microcosm),
Bipedal, By Pedal! zine (Microcosm) OK, I'll be the
asshole here. Though I like bike riding, most bike riders,
and the idea of a pack of bikeriders grooving together, I'm
not completely convinced by Critical Mass. The aspect that
bothers me is the disruption of traffic. | understand some
cities do it at night, but in Chicago it is usually during peak
traffic time. Not only does it seem that inconveniencing
driviers will make them unsympathetic, but I also believe in
punctuality so much that I just can’t get with intentionally
making drivers late. What if someone loses their job, or is
late picking up their kid, or enrages their spouse because
you made them late on purpose. What about ambulances or
pizza deliverers...or bikestore delivery trucks. C’mon, bikes
and bike parts are not biked to bikeshops! You bike utilize
motor vehicles as well! Can't we all get along? Now that
I’ve said my word, let me just say that these three releases
made me just about change my mind. The Critical Mass
history and philosophy in Bipedal makes perfect sense. The
folks that put out the helpful, clear, beautiful guide
Chainbreaker, that really liberates bikers from bike repair
people, are American heroes. And the Still We Ride
documentaruy really proves that bikers are more virtuous
than evil NYC cops who are exposed as straight up
criminals as they clumsily try to go undercover at bike
parties and are busted editing a surveillance video to frame a
biker. Though I have to say, in Chicago we would never be
as obstinate or threatening to police...don't these New
Yorkers know the deal? Of course justice will not prevail if
you challenge cop authority. But overall, while I may not
ride in a Critical Mass, these releases (more than even $5
gas) have me dusting off old Betsy.

Supersuckers “Live At Helldorado” DVD (Munster,
munster-records.com) A live video by a band that can rock
the hell out of a live show. What struck me most while
watching this pro-shot concert is how strong, memorable,
and awesome their songs are. This rocks like a fucking
avalanche!

Tony Palmers All You Need Is Love- The Story of Poular
Music (allyouneedislovedvd.com) Not sure why this history
of pop music documentary series from the late 70s is not
better known, I suspect the music rights must be insane
considering that this comprehensively, though in a relaxed,
natural rhythm, covers EVERYTHING from Jolson to Alice
Cooper, Tin Pan Alley to Tangerine Dream, the African
roots of black music to Tina Turner. In fact, you better just
buy this amazing box set quick before some lawyers figure
it out and snatch it off the market. If you picked up the
reissue of Palmer’s fearless Ali My Loving documentary you
know the skillset and boldness the director brings to this
work, but you will still be astounded by both the scope of
this project and the intimacy of the concert and interview
footage of Jerry Lee Lewis, Gary Glitter, Lennon, Zappa,
Liberace, James Brown, Sondheim, Bing Crosby, Mae West
and hundreds (I think) of others. And if they are dead,
Plamer tracks down stunning rare footage, including clips of
Guthrie and Piaf. And who doesn’t love seeing Buddy Rich
be a douchebag, and then back it up with a drum tsunami!
Unafraid to make huge statements about the nature and
history of pop, and particularly bold as to matters of race
and the history of black music, this is a one of kind film that
you won't believe exists as you watch over a dozen hours of
pure genius.

TS.O.L. “The Early Years Live” (MVD) This combines a
short set from an early-80s Target video and a long set from
a Flipside video. The Target set is a perfect rowdy club gig,
but the longer Flipside concert is a bizarre daytime outdoor
show, and they are doing gloomy “Dance With Me”
material in the bright sunshine to an unenthusiastic crowd.
Very strange! But it’s also awesome because Jack Grisham
is so young and pretty and happy. And just to demonstrate
how much I've bought into the True Sounds of Liberty
legend, I’m actually still scared of Grisham to the degree
that I’m hesitant to mention that he’s dressed like M.C.
Hammer.

Van Morrison Under Review 1964-1974 DVD (Sexy
Intellectual) Van Boringsome.

When Night Is Falling DVD (Wolfe, wolfevideo.com) OK,
what can we leam from Wolfe Video's series of lesbian
interest DVDs? Apparently, if you are a dude keep your
wife away from the circus! Last year they released “The
Gymnast” about a wife being seduced towards Sapphism by
an aerial ribbon gymnast and this stylish movie has an
alternative arty circus midway as the scene of carnival-esque
predatory lesbianism. Come to think of it, one of those 60s
lez-ploitation movies Wolfe reissued had a
carousel/amusement park scene! Anyhoo, this is a pretty
classy movie, and it made me want to be a lesbian, so if you
like art circuses and love, this is for you!

you think you really know me - the gary wilson story
DVD/CD (Plexifilm) Not enough people heard the reissue
of Wilson’s ultra-obscuro electronic/jazzy pop gem when
Motel unearthed it a few years back. This documentary
which features the Motel label (now defunct) honchos
telling their tale of tracking down the missing genius to
reissue the record is made interesting mostly because they in
the seventies Wilson shot a bunch of home movies of
himself looking New Wave cool with his arrogantly nerdy
clique. While the record is revealed as being the work of
someone who is not the exact prototypical outsider musician
(as many private press records are) we also really get a feel
for what made him a genuine eccentric, and learn that his
life since he recorded the album is a pretty compelling story.
Making this a wise purchase is a CD reissue of this essential
album included. And lotsa home movie footage from the
seventies of cool nerds.

X-Ray Visions DVD (Microcosm) This seems like it’s going
to be a kind of shoddy, insider documentary about a cool
club in Portland in the ‘90s. But then they convince you that
X-Ray Cafe seriously was not just any club. The true
strangeness, genuine sense of the avant garde, actual
commitment to social causes, true “alternative” happenings,
and complete lack of business sense made this a remarkable
place and this diy. video is a fitting eulogy.

BOOKS/ZINES

A View minicomic by Mike Goetz (2 stamps or trade, 1340
Brandywine Dr. Rockford, IL 61108) “Goetz” you
laughing!

Bamboozled - The Joey Torrey Story (Microcosm)
Apparently you don’t have to ride your bike to your
Portland coffeehouse job to write for Microcosm. Torrey, a
boxer turned convict tumed snitch serving time in
Maximum Security, hanging with his “buddy” Charles
Manson, tells his Brooklyn to Compton to glory to lockup
tale with vivid language that leans on but never uses as a
crutch some expected clichés, and fully draws you into his
small, intense world. Complimented with primary source
material and press clippings to compare and contrast with
Torrey’s version, this is a great read and a good package.

edited by Louis Reyes Rivera and
Bruce George (Soft Skull, softskull.com) A genuinely
compelling read, this compiles the poetry, polemic, prose,
and philosophy of scores of gang members and gang allies
and even a few anti-gang community members. The breadth
and scope is genuinely impressive, with work by Fred
Hampton, Jr, Last Poets, Dead Prez, Chicago poet Kevin
Coval and lots of gang members you will met in these
pages. I was a little let down that biographies were not
included (gang and territory are all we get). There’s a
fantastic, not gang-related poem about Michael Jackson by
the late great Oscar Brown Jr., who was a true friend of
gangs, as he made the Blackstone Rangers national icons by
putting them on TV and training them as performers, but
you wouldn't know that from this book. That said, this
radical collection is extremely important and you will be
fascinated and impressed.

Bipedal, By Pedal! (Microcosm,
microcosmpublishing.com)(see STILL WE RIDE! Video
review)

BP Jr. zine (bettypagonated blogspot.com) A smaller, sexier
version of the mighty Betty Paginated, the best
porn/wrestling/comic book zine ever!

Carbon 14 magazine (c14.com) Better than pom!

Chainbreaker Bike Book by Shelley Lynn Jackson &
Ethan Clark (Microcosm, microcosmpublishing.com) (see
STILL WE RIDE! Video review)

CHUD INSIDE OF ME is the CHUD Inside of you! By
Keith Herzig (1837 N, Humboldt Blvd Chi IL 60647)
Herzig is a Carnivorous Humanoid Undergrond GENIUS! A
CH.UG.!

The CIA Makes Science Fiction Unexciting #3 (see GENA
MASON music revew), The CIA Makes Science Fiction
Unexciting #5 (Microcosm) Iran/Contra edition. Yeah, fuck
Ollie North! And Reagan!

Constant Rider Omnibus by Kate Lopresti (Microcosm,
microcosmpublishingcom) The phrase “desktop
publishing” seems obsolete at this point. Of course anyone
can make a slick looking magazine layout on a computer,
we take that for granted these days. But Microcosm has so
championed handwritten, Xeroxed, old school messes that it
is surprising to see the almost sterile layout of the zine
compiled in this book. Yet the tales of train riding
adventures contained herein, the total dedication to subject
and to communication, and most importantly, the
understanding that a zine is more sacred than a blog, make
this as special as the raggedy-est Portland rag. This makes
trains, busses and strangers seem like things you want in
your life, which you may not have realized was possible.

Corn & Smoke by Blaster A Ackerman (Shattered Wig,
normals.com/wig.html) This is the knd of writing I like...the
kind that is genuinely, seriously, crucially, monumentally,
about words!

Dagger zine (daggerzine.com) Slow Poisoner’s tour diary is
actually the best tour diary ever published. Plus, this vet zine
has some genuinely informative rock n roll interviews.

Dead in Desemboque by E. Arellano, W. Shaff, R. Schuler
& A. Thibodeau (Soft Skull) Though I am not the kind of
comix snob that believes only books written and drawn by
the same artist are worthy of eyeball time, | will say that
despite its many strengths, this compelling book
demonstrates the weakness of comix as a form as much as
the strengths. Arelleno is a writer's writer, and these literary
adventures of a doomed cowboy/gambler/dog lover are
genuinely compelling. But the shift in artists (artfully done
to give different tone to different chapters) is kind of jarring.
And while each artist has a poetic style that fits the (is it OK
to say) mystical realism tone, they also each have a kind of
raw, amateurish vibe that recalls the best drawing you saw
on a stoner’s school desk. Ultimately, there is a little bit too
much disconnect between words and pictures here, and
unfortunately for the sake of this review I am leaning
towards being the kind of snob I claimed not to be four
sentences ago.

Diary of a Punk by Mike Hudson (see PAGANS music

review)

C. Road = (Microcosm,
Road’s sharp _linework,
cinematically narrative drawings, and dedication to the punk
scene without succumbing to punk-acceptable sloppiness is
extremely impressive. More impressive is the idea to
publish this compilation of her artwork as a book of
perforated postcards, considering that sending many of these
sex, drugs and dissidence imagees though the mail may
qualify as a federal crimes. Viva the Road-volution!

E by John — Isaacson
(Microcosm, microcosmpublishing.com) This reprints a
three part comic book guide to screenprinting. Part one is an
incredibly detailed how-to in comic form that is not the most
compelling comic you will ever read, and would not
function as a stand alone tutorial on screenprinting. But it
certainly would be profoundly helpful to any aspiring
screenprinter who has access to a flesh and blood mentor.
Part two is an absolutely compelling comic (light on the
how-to) about selling t-shirts in the Bay Area's post-hippie
street vendor culture, And part three is a perfect synthesis of
incredibly detailed screenprinting lessons and a really
interesting autobiographical tale of becoming a big time
screenprint shop employee. Essential for screenprinter
wannabes and surprisingly satisfying for folks who have no
interest in the artform.

The Duplex Planet (POB 1230 Saratoga Springs, NY
12866) This zine, featuring David's conversations with old
folks, launched centuries ago with more interest in non-
sequitors and bizarre utterings from semi-detached near-
centerians (which led to the brilliant Dan Clowes
adaptations that bosted the DP profile). But as David has
aged himself he now genuinely seems to want to have
longer, more substantive conversations with his interview
subjects, and some of the recent issues have been some of
the best.

Dwelling _Portably 1980-89 by Bert and Holly Davis
(Microcosm) Receiving Dwelling Portably zine (and the
more recent Chord Easy) was always bittersweet, as the
material laasws always presented in a manner that was
incredibly earnest, sometimes brilliant, always profoundly
invested in connecting with reader, yet because it borrowed
the visual language and style of a kook rant broadside
(typewritten in a dense, single-space manner, full of bold,
manifesto-ish declarations) I always figured few would read
these guides that would certainly be indispensable to many
(not I, however, as camping or traveling beyond the city [or
playing guitar proficiently] don’t fit my groove). But now in
beautiful book form they can read this shamelessly, and
should, and please do! Great for anyone who wants to go
outside!

Eaves of Ass zine (Craven Rock 1627 16" St. Oakland CA
94607) This treatise on the magnificent powers of rock
music is stellar, and it includes a liberal redneck’s struggles
with Skynard-ism and an amazing story about confronting
the aged Last Poets on some recent modest college tour
about offensive lyrics from their debut LP. Totally Ass-
ome!

Fack Two zine (www.jwlk.com) fackin’ A! A bunch of
awesome drawrings!

I Hate This Part of Texas/Keep Loving, Keep Fighting
split zine (Microcosm, microcosmpublishing.com) Unlike a
normal half n half split zine, these two New Orleans
zinesters celebrate, moum, memorialize and document the
drastic changes their home went through by doing what
amounts to a cohesive collaboration. Each types or
handwrites interlocking sections and we are supposed to
know by the font when there is a change in voice, but once
you dive deep in you don’t care. You are just deeply
engaged in vivid descriptions on what life post-Katrina is
like and about friends lost, Particularly moving are the
understated tributes to animator/film
preservationsit/scenester-in-the-best-sense Helen Hill who
was murdered protecting her child after a post-Katrina break
in. The love and loss expressed in this zine is truly moving.
In a postscript not featured in the zine, this spring Hill's
family attended a retrospective of her work at the Orphans
film conference in New York, and it was wonderful. So is
this zine, ultra highly recommended.

invincible_summer an anthology by nicole j. georges
(Microcosm, microcosmpublishing.com) This book
convinces me that if I lived in Portland and saw Nicolle
around I would think she is the coolest woman in toewn, and
you know what, she also does a zine! However, the zine
itself is not so engaging or magical that I feel | know her
and love her just from reading her work.

Kreature Comforts tourist guide ($5, shangrilaprojects.com)
If you ever go to Memphis and don’t buy this guide you are
an idiot. This captures the music/food and cultural history of
the city without ignoring the younger living rock n roll
vibrations. This tastes like bbq sauce!

Let Your Music Soar — The Emotional Connection by
Corky Siegel and Peter Krammer (Nova Vista,
novavistapub.com) If you ever get a chance to hang out
with any of the (mostly) white dudes that helped create
the bluesy garage music that rocked Chicago's suburbs
in the sixties, you'll often hear a humbling confession:
their introduction to Chicago blues came not from trips
to Maxwell Street, but from cover versions by British
Invasion bands. But on the Southside, several factions of
pale-skinned players experienced far more down home
introductions to the blues. Trips to local clubs inspired
Hyde Parker Paul Butterfield to craft music that helped
make electrified Chicago blues popular with rock
audiences. And in 1965 South Shore native Corky
Siegel, alongside guitarist Jim Schwall, honed his
harmonica and keyboard chops during a nine-month
gestation period as the house band at Pepper's Show
Lounge on 43" Street. Though the amazing experience
of playing behind legends like Muddy Waters and
Howlin’ Wolf was life-changing, the Siegel-Schwall
Band’s blues was less reverent than Butterfield’s, adding
elements of jug band music, and mandolin playing that
today might be dubbed Americana. This synthesis of
roots music found an audience, most notably in San
Francisco where the act was so popular they headlined
over artists like Janis Joplin and Santana. But what put
them forever on Chicago's cultural map was their 1968
collaboration with the Chicago Symphony Orchestra.
“(Conducter) Seiji Ozawa felt that classical music had
always followed the folk forms,” Siegel recalls. “He was
a big fan our group so he asked if my band could jam
with his band.” Not exactly a jam session, “Three Pieces
for Blue Band and Symphony Orchestra” was composed
by jazz genius William Russo. The concert was well
received, leading to more collaborations, most
memorably a New York concert that saw the tuxedoed
audience hissing and booing when amp-wielding
longhairs joined the symphony, but ultimately giving the
performance one of the most intense standing ovations in
Lincoln Center's history. These experiences planted the
seeds for Siegel's long-running Chamber Blues project.
“I realized that bringing together blues and classical
music was kind of my mission.” But not his only
mission. In 1973 Russo asked Siegel to teach a course at
Columbia College. Never an advocate of deafening Blue
Cheer-esque volume, Siegel began to deeply
contemplate the transformative powers of musicians
exploring audio dynamics (“Dynamic Variation”), from
the most delicate to most forceful (terms he prefers to
“quiet” and “loud”). The synthesis of his thirty-five
years coaching musicians is his new book, Let Your
Music Soar ~ The Emotional Connection, written with
Peter Krammer and illustrated by Siegel's wife Holly.
Siegel's belief in the benefits of practicing Dynamic
Variation borders on zealotry, with his anecdotes of

astounding breakthroughs sounding at times like a faith
healer’s shpiel. But what makes it clear that Siegel is far
from a flim-flammer is his intense eamestness, and the
specificity of his technique (he ultimately condenses it to
a sixty-second exercise). And perhaps more importantly,
Siegel is profoundly dedicated to his ideas being
accessible. The book utilizes sports analogies, illustrated
stories of a caveman musical pioneer, and a CD of audio
examples that includes recordings by violinist Rachel
Barton-Pine and Marcella Detroit of Shakespear's Sister.
The reason Siegel is so dedicated to making his
technique accessible is not simply because he believes
any instrumentalist and singer can benefit from it as
performers, It is because to him music theory and life
philosophy are one and the same. Before introducing any
charts or notations Let Your Music Soar boldly tackles a
new definition of “music,” a thorough examination of
the creative process, and a refutation of the divides
between musical genres. Ultimately, Siegel's is more
invested in artists finding their emotional, individual
voice than in pitch, timing, or chops.

Local Comics (Michael Goetz 1340 Brandywine Dr
Roclford IL 61108) Comic-al!

Lowbrow Reader (\owbrowreader.com) Comedy is fucking
funny.

The Microchipping of America: Now That Cyborgs, Gang
Stalking, and Human Bar Codes Are Here, What Can We
Do About It? by Gena Mason (see GENA MASON music
review)

my_brain hurts volume 1 by Liz Baillie (Microcosm,
microcosmpublishing.com) Liz kicks off these angsty teen
gay adventures in a manner way too wordy and poorly
paced, but halfway-in she nails it, and these characters
become vivid, sympathetic, and worthy of your powerful
desire to protect them. Highly recommended.

Nova Feedback zine by Michael J. Bowman (PMB 111, 144
N.7® St, Brooklyn NY 11211) MJB is the MJBest!

Popular Reality (POB 66426 Albany NY 12206) I have
seen the apocalypse, and it involves clippings.

Razorcake (razorcake.org) This magazine is as good as |
thought MRR was when I was 14 and was wrong!

Smile, Hon You're in Baltimore! zine (Eight Stone Press,
eightstonepress.com) Last year this Baltimore writing
compilation zine did an all-crime issue that was killer, and
the new issue is almost as good. And interestingly enough,
apparently it’s darn near impossible to tell a book full of
Charm City stories without mentioning numerous crimes
and misdemeanors.

XXVIII Chapters Hastily Written And Bound By Some
Stapling Contraption At Some Yet To Be Determined
Printshop zine, Defeated By Maryland zine (Christoh
Meyer POB 106 Danville, OH 43014) This usually twine-
centric zine has convinced me that hiking for six months
across the U.S. is either awesome or really sucks depending
on whether the postscript to these zines is a life-affirming,
dawn of a new day epiphany or a divorce/bear mauling,
and/or fatal blister.

Ugly Things magazine (www.ugly-things.com) Put down
this magazine now and get this other magazine NOW!!!
Best magazine ever, and this from someone who has not
finished one of these phonebook sized issues in ten years.
But the beauty is that articles about bands from 40 years ago
are never outdated.

the whisperig of ice cubes: new and selected pieces by
Rupert Wondoloski (Shattered Wig) Strange magically
unreal poems and stories that nonetheless are grounded in a
visceral physicality. Despite genuine weirdness there is
something manly about the food and muscles and knives
and bathtubs and other markers of urban reality that speckle
these gems.

Workink For Free by Mike Twohig ($2, or trade, 145
Meadow Fram North, North Chili, NY 14514) A chapbook
zine of Twohig’s delightfully creepy line-drawing rock
posters. Though my editor may not dig me saying this
considering he has run Twohig's illos at half the size of this
book, I think this would be better if it was really big instead
of really small, there’s a lot of detail here.

GUEST REVIEWS: JAKE AUSTEN

Skafish “What's Thi: 1976-1979" (829 Records,
829records.com) Despite spending the latter part of the Me
Decade strutting his stuff on Chicago stages in women’s
swimwear, sporting a hideous bow! cut designed to bring
attention to his toucan-like nose, and preaching musical
sermons about violating children, fagbashing and lice
infestation, some folks accused Jim Skafish of faking it.
“My experience in life was so extreme and so different that
people assumed that since it wasn’t what they had
experienced that it had to be made up,” recalls the singer-
pianist from East Chicago, Indiana. “People were cynical.
They thought, this must be a bid for attention. Everything I
did on stage was a reflection of the life I had experienced.”
But if anything irks Skafish more than having his sincerity
questioned, it is the lack of recognition he gets as a
historical pioneer, It’s hard to have a conversation with him
without hearing how he is the forefather of Chicago punk,
new wave, alternative and indie rock; the first Chicago punk
act to play CBGB's, L.A., London; the first to cause a riot,
to write a blasphemous rock song, to make audience
members spontaneously vomit. And despite getting the
Rodney Dangerfield treatment from Chicago punks, a lot of
these claims are probably true, as evidenced by his new self-
released CD, What's This? 1976-1979, a collection of
outstanding unreleased demos, lavishly packaged with
archival photos and DVD-style bonus audio commentary
tracks. His band Skafish released two albums on the IRS
label in the early '80s, but the classically trained musician-
turned-performance artist is best known for his appearance
in the 1981 concert clip film Urgh! A Music War, in which
his showmanship and eccentricities fit in perfectly alongside
the likes of the Cramps and no-wave icon Klaus Nomi. But
in Chicago Skafish was a far squarer peg. Despite gracing
Chicago stages for nearly two decades, he was never fully
embraced by local punks, and with good reason: With a few
exceptions, this city’s scene was fairly conservative, with
normal-guy haircuts, working-class values and leather
police jackets that ultimately were not ironic at all. As a
genuine weirdo, Skafish never really hooked up with any
Windy City punk cliques. And in the end, the real Skafish
appreciators turned out to be a disparate group of nonpunks
that ranged from art-rockers ONO to popsters Cheap Trick
(the latter of whom pays tribute by authoring the What's
This? liner notes). In fact, Skafish is more organically
connected to Chicago’s blues and jazz scenes than to
Chicago punk. As a teen he studied with South Side piano
legend Willie Pickens, had supportive relationships with
Muddy Waters and Willie Dixon and, perhaps most
bizarrely, recently released a Christmas CD of unironic,
schmaltzy piano jazz. At its best, Skafish’s early music
gloriously defiles the hooky pop aspects of new wave with
an undercurrent of Sun Ra-inspired dissonance: The new
collection’s stellar “Knuckle Sandwich” sounds like Captain
Beefheart’s band sitting in with Devo. Also separating
Skafish was the scale of his ambitions. He wasn’t content to
create an insular scene or rock a VFW—his schemes were
far grander. “I wanted to change the world,” Skafish
explains, “to take things further than what was being done in
New York, Los Angeles and London. My ambition was to
revolutionize and change things.” He also expected massive
success to follow. “I thought No Liberation Here was going
to be a hit record. My friends laughed, as if teenagers in
1977 are going to be singing along, ‘I am feeling like I need
some abuse...’ "Because the Billboard charts—and
history—failed to appreciate Skafish’s odes to Catholic
damage, it would seem that a reissue of his previously

released recordings might make more sense than to compile
rarities. And Skafish hopes to rerelease those some day
(along with a complete “lost” LP he claims Miles Copeland
rejected “for being too shocking”). But in truth these
dynamic early cuts—which combine the rawness of budget
recording techniques with the gloss of virtuoso musicianship
(complementing Skafish’s discordant piano runs is some
genuinely awesome drumming)—are a perfect introduction
to new ears. For fans who enjoyed (or were nauseated by)
Skafish’s vintage live shows, these more accurately
document what they heard than the IRS albums. Ultimately
this disc could belatedly deliver Skafish the place in history
he deserves. Despite being released 30 years too late, the
songs on this CD should finally convince Chicago punk
rockers who's their daddy.

GUEST REVIEW: MADELINE BOCARO
When Sly Was Fly: Sly & The Family Stone live in New
York City (B.B. King’s Blues Club - December 7, 2007)
When Sly was fly, he was SUPER fly — the original Punk of
Funk! He was a natural — a sweet, playful kid at heart
obviously having fun onstage, yet he was a serious funk
master. With the family Stone behind him, he was a true
star, innovatively fusing rock, pop and funk in the 60s. Sly
was one of the greatest live performers I'd ever seen when I
was fifteen in 1973. He was outrageous in his head-to-toe
purple sequined glamtastic splendour. He was wild — all
over the place - and that stone classic music that we'd only
ever heard compressed into a tiny am radio suddenly
exploded into a colourful all-night funky jam party. And
now, 35 years later, I've got tickets online to see Sly at B.B.
King’s Blues Club in New York City. I can't believe I'm
actually writing 'SLY' on my calendar for December 7th! I
hope he remembers to write it on HIS calendar, or that he
even HAS a calendar, or that he actually shows up!! In any
case, it will be funky! For decades we've known that Sly
was out of commission. First he became infamous for no-
shows at gigs, later he was nowhere to be found, Drugs got
the best of him. What a waste. What a sin that such a great
funkster was silent for so long. The great comeback of Sly
was always on my mind. Then it happened! He surfaced on
the Grammys in 2006, resplendent in a long shiny silver
purple-lined cape and matching foot-high platinum Mohawk
wig. I couldn’t believe my eyes! He was back! But wait...he
was noticeably bent over, and limited in his movements. I
began to think it was an imposter, How sad. How bitter
sweet. He left the stage in mid-song. You couldn't blame
him really — a gathering of unworthy famous musicians
were pompously jamming ‘I Want To Take You Higher’
How dare they be allowed onstage with the sublime Sly! As
much as I hated to see him leave the stage, I had to mutter in
solidarity, ‘Right on brother!"

And here we are, in 2007, paying our respects to the master
— just to be in his presence once again is a truly miraculous
historic event. I've lowered my expectations, but still can’t
stop my heart from racing. The club has removed the tables
for this gig, and I’m right at the front of the stage! Will I
really be this close to Sly? Oh God — YES!

The Family Stone (including original members Cynthia and
Jerry — trumpet and sax) appear onstage. We've heard that
the band usually plays awhile before Sly makes his entrance,
but WOAH - suddenly there he was! Could it be true? YES!
Sly is actually in the building!! He's wearing a white sweat
suit with bits of silver glitter, shades and a Mohawk. He
shuffles out to roaring cheers - a smiling shadow of his
former explosive self, but his gigantic smile is his
trademark, proving it’s really HIM! He noodles with his
keyboard, checking the sound. Then he conducts a run-
through audience sing-along of each song. He SLYly grins
ear to ear and acts like a complete goofball. YES! He’s
back!! Amazing renditions of ‘Dance To The Music’, ‘I
Want To Take You Higher’, ‘Sing A Simple Song’ and
“You Can Make It If You Try’ follow. His voice is
incredible - deep, soulful, playful. And he’s not stoned!
Many of us can’t believe what we're witnessing (after many
audience mutterings of ‘You think he'll show up? I'll
believe it when I see it!’) Then Sly leaves the stage. He
returns for ‘Everyday People’. Then he leaves again.

We can’t help but wonder if Sly is really happy to be
performing again (he looks quite joyful onstage, but he
doesn’t want to stay). Was it wrong to prop him up on stage
for our enjoyment? Not if he feels our true love and
appreciation, and takes it to heart! Anyone else would feed
their ego on this worshipping crowd, but Sly has no problem
walking off.

The little brat has exited, stage left! Heavens to Mergatroid!!
The band members are visibly panicked. Poor Jerry receives

a message from the wings, nervously looks at his watch, and
waits until Cynthia stops blowing to relay it to her. The band
start jamming and there is much confusion. Aren't they used
to this by now? Shouldn’t they just pretend everything’s
normal? Don’t they know the psychological tricks that get
Sly back onstage? Perhaps an edible treat to lure him back,
like the sick puppy he is!!

The band begins HIS song from Fresh - ironically titled, ‘If
You Want Me To Stay’. They're almost halfway through it,
and I’m praying, “No! Wait for HIM to come back and sing
it!!” And back he comes, and he sings it — partly to ME!!
I've kept my vow and met Sly again in this lifetime, and he
looked into my eyes and sang. What more could I ask for? I
just want to be sure that he is happy. There are very few
people who make their way deep inside my heart, and this
crazy nut is one of them!

With Sly still absent, the band jams awhile on “Thank You
(Falettinme Be Mice Elf Again)’. At this point, some mice
and elves on stage would have been a welcome diversion.
The mic is handed to audience members to sing into. Sly
never returns. One guy grabs the mic and says, ‘Get that
crack addict back up on stage! I paid $100 for this ticket!”
Poor Jerry in defense replies, ‘Have respect for the great Sly
Stone — this is the longest time that Sly has been onstage this
tour!” (It was maybe a total of 30 minutes, topping his usual
20). Quick! Call the Guiness Book of World Records!
Actually, Sly's gig went down as pretty much the calamity
I'd expected, but we were all still dumbfounded nonetheless.
It probably has nothing to do with his decades of drug
abuse. It’s just how he is— he’s just SLY!

A friend went to the late show, and said it was fantastic. Sly
was on stage for over an hour, and it was incredible. It’s hit
or miss, just like always — Sly is still fly, but only when he
wants to be!

GUEST REVIEWS: GENTLEMAN JOHN BATTLES

by Stephan Curran. (Prism Marketing,
Inc, E Royal Lane #215, Irving, Texas 75039), Eye Mind-

Elevators, The Pioneers of Psychedelic Sound by Paul
Drummond (Process Media. - Process Media PO Box 39910
Los Angeles California 90039), You're Gonna Miss Me: A
Film About Roky Erickson (PALM DVD Palm Pictures,
LLC, 76 Ninth Avenue, 11th Floor NY 10011 -Palm
Pictures, LLC, 76 Ninth Avenue, New York, New York
10011. store.palmpictures.com), Roky Erickson and The
Explosives "Halloween Live 1979-1981" (SteadyBoy CD-
Steadyboy Records, 1607 Elmhurst Drive, Austin, Texas
78741 www.steadyboy.com www.rokyerickson.net) First, I
want to point out that "Easter Everywhere" is a beautiful
color photo book, documenting the making of The
Elevators’ exceptional sophomore effort (and, I'm told, the
favorite album of Phillip, son of Mike and Anja from Ugly
Things. He'll be about 2 years old when you read this), with
interviews and quotes from, basically, all the major players,
several of whom are now, sadly, deceased. Secondly, at only
30 pages in length, this book came out to one dollar a page.
The book consists of full-page portraits of all five members
of the 1967 mk3 lineup by Guy Clark, who did the
outstanding photos for the original LP. It's nothing short of
fascinating getting a firsthand view of the creation of this
Psychedelic landmark. You even get to see former bassist,
the late Dan Galindo, holding up a huge piece of sheet metal
in an effort to simulate the sound of the "Earthquake" for the
song of the same name. There's also some outstanding shots
of Roky and the late Stacy "The Dark Angel" Sutherland,
and a two page spread of an admittedly well known photo of
the entire group with Lelan (the last time Rogers would be
seen in the same room with most of the surviving members
of the group would be in a court case, in the nineties, to
determine who should legally own the band's back
catalogue. The others were reportedly hoping for a piece of
the pie, but Roky, then in dire straits, was promised The
Elevators’ masters by Rogers, who reneged, tuming the
rights over to Charly Records in England, then dying shortly
thereafter), but this is the first time I've seen said photo in
full color. What is widely believed to be Stacey Sutherland's
last interview is also excerpted here. Drummer, Danny
Thomas, who fell off the radar, only resurfacing a few years
ago, goes into great detail about his experience with The
Elevators. Roky also recalls those days in his own,
inimitable, fashion. It's important to note that, not so long
ago, Roky simply would not talk about music, particularly
his own. Jug player and spiritual advisor (who insisted that
his bandmates "trip" 24/7, even, and especially, during gigs,
which, arguably, contributed to the band's early demise)
Tommy Hall, is represented by a short collage of interview
segments. If you're already a pretty big fan of The Elevators,

you'll want this book, but bear in mind, this is not a coffee
table book, chock full of photos and text. There really aren't
THAT many photos of The 13th Floor Elevators known to
exist, but more, remarkable, pics have been turning up as of
late. Another book, recently released, will satisfy your
hunger for photos and incredibly detailed synopses of the
band's entire career. "Eye Mind" (get it?), which clocks in at
about 400 pages, dispels some rumors and half-truths, and
confirms suspicions and/or theories you might have held
about one truly mysterious band. Not only that, but it
presents amazing color and Black and White pictures of the
band, it's predecessors, and it's offspring, plus a plethora of
cool memorabilia. You COULD buy this book just for the
photos, but you'd really be missing the boat. Though the
research conducted in the making of this book is
painstaking, there are a few glaring errors, one of which
appears in the first few pages. The book points out that, in
1978, The Sex Pistols played in The Elevators’ second home
of Kerrville, Texas, while en route to Dallas (where The
Nervebreakers, who'd go on to back up Roky Erickson
twice, did the honors, opening for The Pistols). It's common
knowledge that the gig was in San Antonio (where the
opening band was "Killed By Death" faves, The Vamps,
whose singer, Frank Pugliese, later turned up in modern
Garage/Punkers, Sons of Hercules), Also, The Yardbirds did
not release "Shape of Things To Come.” That would be Max
Frost and The Troopers. If I may nitpick just a little more,
the very first page bears an abstract illustration, which, it
turns out, was excerpted from the Red Krayola's first LP
sleeve -- a bit of a strange choice. However, the always
quotable Mayo Thompson goes into great detail about The
Elevators' and The Krayola's relationship with each other
and Intemational Artists, the label for which both bands
sandblasted post-Beatles Rock, and provided the template
for D.1.Y, and Punk. There's even a photo of The Familiar
Ugly, the collective of about 40 individuals who provided
the chaotic, but compelling, embellishments on The Red
Krayola's debut "The Parable of Arable Land.” Author Paul
Drummond, goes as far back as to trace the various
Elevators’ childhoods, eventually ~— detailing —the
circumstances that led to two rival bands, The Spades and
The Lingsmen, to agree to combine the sum total of their
better parts into one, irrepressible, unit, The 13th Floor
Elevators. This Supergroup seemed destined for success
from the start, though the chemical intervention of Tommy
Hall (neither a former member of The Spades nor The
Lingsmen) caused dissension within their ranks (LSD was
still legal when the band started). Roky brought with him,
along with his undeniable good looks and fiery vocal
stylings, a song that would soon prove to be their calling
card, "You're Gonna Miss Me.” He'd already released a
rougher version with The Spades, but the revamped,
psychedelicized version by The Elevators bumped the still-
popular original off the local playlists and began to chart
nationally, As much as Erickson brought to the table, it was
the combined, unique, talents of each individual member of
the band that made it work. Self-appointed leader ("Those
who don't know, teach"), Tommy Hall, has been regarded as
a "Non-musician" by some, his trippy "Jug sound" shunned
as a mere gimmick. Perhaps he was a “punk" in the truer
sense, in that he had to create something out of nothing to
prove his worth, Then, there's the matter of his incredibly
involved, often quite beautiful, lyrics, taking his fascination
with math into new realms as a writer, many that haven't
been touched upon since. Of many remarkable anecdotes
recalled in this weighty tome, one of the most interesting
concerns the time the band came to San Francisco to
headline over an also-very talented five piece band that, like
The Elevators, was truly the sum total of it's parts: Moby
Grape. It would seem The Grape was out to get The
Elevators, pulling out all the stops with an explosive set,
heavy on the showmanship. The Elevators, for their part, did
not try to compete with Moby Grape. The idea of "Boogie-
in” nauseated them to their already bum-trippin'
souls...BUT The Grape found a fervent new follower in
Stacy Sutherland. The Elevators’ excellent, though
misunderstood, swan song LP, "Bull of The Woods,” which
was mainly Stacey's album (Roky was between a minimum
security hospital and the horrors of Rusk, an institution for
"The Criminally Insane " where Roky, for posession of two
joints, found himself conversing with, and even starting a
band with, murderers, rapists, and pedophiles), appears to be
heavily influenced by Moby Grape. I feel compelled to point
out, "Eye Mind " clarifies that "Bull" was recorded largely
as a three piece, Roky only handling vocals on four
numbers, and, while Tommy provided some haunting
backing vocals, and barely audible jug sounds, he split for
San Francisco (where he still resides today) before the shit
hit the fan. Rounding out this, not even the last, lineup was

Drummer Danny Thomas, still on hand from the previous
LP, and newcomer, Earl "Duke" Davis, on bass. It turns out,
Davis played the outstanding bass parts on the unreleased
"Wait For My Love,” not his predecessor Dan Galindo, as
stated, incorrectly, several issues back. That's most likely
him on the absolute mindblower, "I Don't Ever Want To
Come Down,” itself a strong candidate for a single "A" side
when the label was clutching at straws for single-worthy
material. Before the whole thing fell apart for the last time
(with Roky and Stacy turing up when they could), a last
Elevators lineup briefly emerged, with, of all people, first
drummer, John Ike Walton, out of the picture for nearly
three years, pulling the reins, as he had owned the name the
whole time. He was the only member of the group that was
old enough to apply for a patent to the band name, giving
later lineups permission to continue using the name. He did,
however, participate in three, abortive, reunion projects, in
1972-3 (believed to be two gigs, but probably more like five
or six, with Roky, second bassist Ronnie Leatherman, and,
sometimes, Stacy), 1977 (only one set, with Stacy and
Ronnie on board, but not Roky) and 1984 (Stacy was
deceased by then, his part filled by Greg "Catfish" Hunter, a
former dope-buddy of Sutherland's. This lineup, led by
Roky and only playing two Elevators numbers, lasted for
two gigs). While "Eye Mind" gets heavily into Roky 's
depressing downward spiral, one that he's only recently
emerged, victorious, from, it also goes into great detail
about the events leading to Stacy Sutherland's tragic death,
and the bizarre aftermath. Like several former bandmates,
Stacey had been reduced to playing Country Rock by the
late 70s (after being released from prison, also for a
miniscule amount of grass, and finally kicking Heroin, but
still battling with the bottle), He had bought his wife, Bunni,
a gun for protection, and showed her how to use it. Stacy,
though he seemed to have a death wish, probably couldn't
have surmised that he had purchased his own murder
weapon. In a horrific turn of events, not unlike the case of
Sid and Nancy, Bunni admitted to being her Husband's
slayer, but somehow, avoided doing prison time. She would
later claim that her house was haunted by the ghost of Stacy.
Meanwhile, Roky was being haunted by demons, aliens and
gremlins. While Glenn Danzig sang that he had tumed into a
Martian, Roky had already had it notarized that he WAS
one. This meticulously detailed book bears a journalistic
tone, tying together many short stories into one, weighty,
novel-length tome. There isn't much that you could learn
about The Elevators, despite the elusive details of their saga,
that isn’t contained in this book. Basically, all the surviving
Elevators, and many family members and close associates
offer an intimate view of an extraordinary, if befallen by
grim fortunes, American band. As the true Fathers of
Psychedelic music, they may have advocated the use of
hallucinogens at a time when it was dangerous to do so, but
they also taught people that it was possible to get high to
their music without the use of drugs. Drummond's
painstaking attention to detail, and his ability to tell the
whole story without taking sides, make this a Rock read for
the ages. As with the band's now-vastly influential music,
you can dig it straight. Speaking of music, "Halloween" is a
project Freddie Krc, of The Explosives, has been hard at
work with, in Frankenstein's lab, concocting a series of
sonic experiments to build a better monster (in this case,
perhaps, a Golem, as Freddie is a Prague-Rocker). Anyway,
it's no secret that some really lousy-sounding Roky bootlegs,
and some that sounded pretty good, have been making the
rounds for the better part of 25 years. Kre (rightfully so) felt
that Roky's existing live recordings with The Explosives had
been criminally misrepresented. Some tracks included here
have appeared elsewhere, usually on releases that Roky
never saw a dime for. "Halloween-Live 1979-1981" was
not, as the title suggests, recorded on Halloween (though it's
possible one track was), but conceived in the realization that
every day can be Halloween. if you will only believe. And
every night was Hallow's Eve when Roky took the stage,
and it still is, today, though Roky seems more like he's
living out the thrill of his favorite Horror films, set to his
own music, than casting out demons. What awaits you, the
listener, are some of the greatest live versions, ever, of such
Horror Hits as "Two Headed Dog,” "Creature With The
Atom Brain,” "Bloody Hammer" and "Stand For The Fire
Demon,” plus "You're Gonna Miss Me" (which is just a
LITTLE rougher-sounding than the others, though,
somehow, | think our boy would prefer it that way), the
Chuck Berrified "Wake Up To Rock ‘n’ Roll,” which is to
Rock ‘n’ Roll what the other songs are to late night Horror
Films...A joyously crazed celebration, with even a few love
songs thrown in for good measure, An almost Folk-Punk
sendup of "I've Just Seen a Face" rocks the house just as
well as the others, and, amazingly, turns out to be the only

time they ever played that number (Freddie Kre told me that
Roky just asked the band, onstage, if they could work it out.
Roky had a penchant for working up covers on the spot,
once famously telling The Explosives, "Boys, we're going to
do Heroin tonight... I think it's in "E.”"). Guitarist, Cam
King, really gets to stretch out his muscles on these
versions. The rhythm section of Kre on drums and Walter
Collie is wound up just as tight as Leatherface's newest arts
and crafts project. Hopefully, a new live CD (AND DVD!!
CAN YOU DI-III-IG IT?!!!) will turn up, from Roky's
triumphant recent return to the stage, but until then, this is
an outstanding document of Roky conjuring fun and fright
in an effort to combat personal demons, in, not so
surprisingly, punk venues. While he's regarded by many as
the Father of Punk, what he's putting down, here, is light
years ahead of the safety pins, black leather and buzzsaw
guitar crowd, with whom he still fits, if your definition of
punk isn’t so narrow. Keven McAlester and Adrienne
Gruber's award winning Roky Erickson documentary,
"You're Gonna Miss Me,” is, indeed, less about Roky's
music and more about his incredibly dysfunctional
relationship with his family. Someone told me that seeing
Roky's Mother, Evelyn Erickson, and his brother and last
legal guardian Sumner, in the same room with Roky was
like a Tennessee Williams novel come to life (the court case
in which he was awarded guardianship actually opens the
film, meaning that the film begins close to the ending, then
goes back in time, like "Mulholland Drive,” or I hate to say
it, "Pulp Fiction"). This film boldly takes on the often
conflicting dynamics between Roky, both his parents (his
Father, Roger Erickson, passed away, recently), and his
brothers in the waning years of the 90s, when Roky's
physical and mental health seemed to be at an all-time low.
His mother, his then-legal guardian, refused to let him
undergo any kind of psychiatric treatment, or take medicine
for his then-severe mental condition (which had been
classified as being, and then, NOT being, schizophrenia),
though he'd had some success with such medications in the
past. By the nineties, treatment for schizophrenia and similar
conditions had improved drastically. Still, Roky's very life
was at stake, as the abcesses in what were left of his teeth
were threatening to go toxic, and if left untreated, would
have, most likely, put him in his grave by now, a situation
his mother seems to have understood. Yet, as with the other,
very serious health issues, she no longer trusted modern
medicine, and seemed to think prayer, while all fine and
good, would be enough for her son, There's no question that
all the prayers Roky's fans have said for him have been a
great deal of help, but I'd venture to say that most of us were
praying that Roky could get the medical treatment he so
desperately needed. "Miss Me" chronicles the tumultuous
chain of events that lead to Roky eventually being put in
Sumner's care, and responding, literally overnight, to
psychiatric treatment. Every time | heard from a friend of
Roky’s, it was to tell me something you might actually call
miraculous, "Roky got his driver's license!” "I saw Roky
power-walking!” "Sumner has relinquished guardianship
over Roky!” "Roky 's going on tour!” and, best of all, "Roky
and Sumner have made peace with their mom, and Roky
and his ex-wife, Dana, are boyfriend and girlfriend again!”
(they divorced some thirty years ago, and, now...they're
absolutely adorable). The film ends much like that other
great saga of Shakespearean dysfunction, "The Sopranos,”
which came to a halt at roughly the same time this film
debuted. We all know Roky's rockin’ on the elevator up,
going from strength to strength, and enjoying his life again.
His talents did draw people to him that could admittedly
help him, while others took advantage of his condition, and
screwed him into the ground. Still, his brothers have
suffered greatly, too, without the benefit of a more
noteworthy musical career (although Sumner was the first
chair tuba player for the renowned Pittsburgh Symphony
Orchestra, under the direction of Andre Previn, for decades,
while Donnie was a local guitarist/songwriter and he played
in the first revamped Elevators lineup) as something of a
safety net. This doesn’t belittle Roky's situation, something
his brothers are careful not to do, but when Donnie asks why
no one was there to help him when he tried to commit
suicide, you could hear a leaf fall from a tree. If you're less
drawn by tragedy (Roky's sense of humor still makes it to
the fore. When his brothers make an awkward, though
sincere, intervention attempt, he tells them, "If I knew you
were coming, I'd have baked a cake"). There IS music, fear
not, kicking off with the classic Elevators "American
Bandstand" clip, including the seldom-seen interview, in
which Dick Clark asks, "So, who is the head of the group?”
and, naturally, Tommy Hall replies "We're ALL heads.”
There's also a brief, but incredible, 8mm clip of the
reconstituted Elevators lineup (Roky, John Ike, Donnie,

Ronnie Leatherman, and even Stacy Sutherland, who drifted
in and out of the new lineup, still strung out on Heroin) ca.
'72 or '73. There is, incidentally, a little more to this footage,
but they may not have able to get permission to use it all.On
top of that, there's some fine bonus Roky performances,
mostly culled from Cable Access performances. Amazingly,
this is a true-to-life document of a family that's agreed to let
their anguish be stripped bare before the cameras, as though
the cameras were not there..This is no "Reality Series,” this
is a series of real events that happened to real people, and
that, my friends, is something you could not make up.

Rockin' 50s Fest III, May 16-20, 2007 - I'm just going to
tell you what I remember, OK? I had a great time, so they
tell me. Jack Scott looked ass-kickin’ and sang beautifully,
but he did too many ballads for my taste. He did do "Leroy"
as a "Medley" with “Greaseball,” the song's original
working title. He was told it couldn't be released that way,
as it would've been considered offensive to Italian-
Americans, to which he replied, "But | AM an Italian-
American!” Big Sandy was all right. I've seen him a million
times, He's certainly never bad, but the only time I've seen
him get wild is when he's doing the Mexican/East L.A, Rock
n’ Roll trip with Los Straitjackets. The main event, Little
Richard, left a lot of people bellyaching over his
loquaciousness (obviously, they'd never seen him before.
Yes, he yammers a lot between songs, but he's what? 75?
This is how he warms up, before he goes up to bat). My
friends and I are in disagreement about how many times he
said "SHUT UP!.” I counted 21. He did a couple of rarities
like "Miss Ann,” and "Directly From My Heart,” and even
sang a bit of "Good Morning Little School Girl,” accapella,
plus a smokin’ version of Ray Charles’ "I Got a Woman,”
with a touching dedication to Ray, and their mutual friend,
the recently departed James Brown. Anyone that had a
corncob up his ass about Richard's (hilarious) stage raps
needs to remember this is ENTERTAINMENT. Richard
sang and played piano with a vengeance (though,
admittedly, his own hits are becoming more difficult for him
to sing in his present-day range). Whiners, the line forms on
the right, and I'll tell all of you, "YOU WERE LUCKY TO
SEE HIM!” The best part was, Little Richard now looks like
the 1972 Little Richard!!! I can't get as geeked up about
Doo-Wop as most other white record collectors | ran into
that weekend, but The Five Keys held a lot of promise, in
that they had a few numbers that didn’t go, "Darling, oh my
darling...", and, unlike most of their ilk, they actually had
three original members (the fourth surviving member would
have been there, but his wife had taken ill) onstage. I don't
remember them doing their second greatest number, "That's
Right" ("One is one and two is two, that's right! [that's
right!] Kangaroos come from Kalamazoo, that's right! (Uhh,
that's wrong!)"), but the cherry on the top of the cake was,
of course, "Ling Ting Tong,” a song about the proprietor of
an opium den in Chinatown. The group tried to play this
down, by saying the mock Mandarin chant, "Tai smoke um
boon dai yea, tai smoke um boo!" actually meant " The
fragrance of the flowers, the sound of the music.” Uhhh,
yeah, right. Narvel Felts SANG beautifully, but relied on too
many obvious covers. Former Stray Cat, Slim Jim Phantom,
led the nightly jam session in the itsy bitsy teeny weeny
casino bar, on drums and attitude (I'm sorry, the Stray Cats
haven't been relevant for 25 years, get over yourself). The
best part of that was seeing LEMMY bring the house down
with his version of Cream's version of "Crossroads." Even a
bar band staple such as this sounded like gold (Hurled at
your forehead). Some bikers behind me told me to move,
but there weren't many options in that department. Besides,
if they couldn't stand up for five minutes to see Lemmy,
their macho exteriors are a goddamned facade. The
Neanderthals put on their usual raw rockin’ set at the casino
bar, as did a solo Eddie Angel, joined by a mucho-rockin'
Big Sandy (now that's more like it!), but the most insane
moment of the whole damn festival was when Ian, from Ian
and The Zodiacs (Spinout's newest hitmakers), nearly
destroyed everything in his path with a warpspeed "Don't Ha
Ha,” threatening to smash all the bottles behind the bar
(located in front of the stage), but instead leaping over to the
bar itself, and using it as a second stage. Catch him now
while he's still a free man. Billy Lee Riley was on fire, as
usual, though probably not as strong as the last couple of
times I've seen him. Word is he's retiring from performing,
which would be a drag, but a man’s got to be free to do what
he wants to do. In any case, thanks for all the great shows,
and for being such a good cat, Billy Lee. Speaking of
retirement, I wish The Crickets would just do it. They
weren't well-received, despite the return of Sonny Curtis.
You'd think they would learn a valuable lesson; pull from
Buddy Holly's huge back catalogue of Rockabilly and Raw

Rock n’ Roll, as well as the obvious hits. We know Curtis
wrote and sang the theme song to "The Mary Tyler Moore
Show,” but we didn’t need to HEAR it! (OK, so I dug itin a
perverse sort of way). Sonny West, former songwriter for
Buddy Holly, served Buddy's memory better than The
Crickets themselves. Ferlin Husky still has a great voice, but
not much in the way of upbeat material. Some of the
"Review" type sets weren't particularly memorable.
Chicago's pride, Hayden Thompson, was in champion form
when he shared the stage with Lew Williams, Eddie Bond
and Glen Glenn (all good, but not outstanding, like Hayden).
Big Jay McNeeley, looking at least 25 years younger than
his real age of 80, AND much thinner than in recent years,
delivered one of the best sets of the whole festival, still up to
his old tricks, walking through the crowd, and rolling on his
back, not to mention singing and honkin' sax with a
vengeance. Even people who don't particularly like Robert
Gordon had high hopes for his reunion performance with
Chris Spedding. As it tumed out, Spedding, the only man on
earth to record with The Goodies, The Wombles, The
Vibrators, Dee Dee Ramone, AND Joe Christ, was given
very little room to kick up a storm on the guitar, while
Gordon sang in VERY strange keys, and managed to get in
the vastly overplayed (even if it is still a great song) "The
Wanderer" for his third number. I deduced, by that, this ship
was sinking. | DID make it to the ballroom at 2:00 PM to
see Linda Gail Lewis, Jerry Lee's sister and recent Van
Morrison collaborator. Linda Gail played the REAL Sun
Records boogie woogie on piano, just like her Brother did
one in the early days. Now, I still swear by The Killer, don't
get me wrong, but Linda Gail had the sound of his pre-
Smash records Sid and Billy King, while musically still very
good, reminded me why I just wasn't diggin’ it too much the
last time | saw them, in The 80s. Frankie Ford was trying to
beat Little Richard out with campy flamboyance and a
plethora of corny, moderately risque jokes between songs
("You know that commercial that says “If an erection
persists for four hours, call a doctor."? Honey, If I had an
erection that lasted four hours, I'd call everybody I know”).
Pat Cupp I liked OK. Sleepy La Beef was given a short slot,
with a pickup band. Did he sound great, anyway? Well,
DUR-URR!! But this was not Sleepy in his element, playing
for as long as the law 's allowing, with an intuitive band that
could follow his every subtle cue. Barbara Lynn outdid
herself, in that she was so powerful and self-assured, finger-
picking and singing at her peak. Ray Sharpe is always good,
but of the three times I've seen him, he didn’t seem too into
it, this time. Maybe the audience didn’t inspire him enough.
His generous use of the wah-wah peddle probably didn’t
endear him to the average Rockabilly fan, either. But when
their feathers get ruffled, I get the chuckles. Yes, I'm a
Rockabilly fan, but my passport has other destinations
stamped on it, too, y'know. I counted four or five electric
basses at the whole fest which surely would have
caused a riot on par with Paris in 1968, if The Standup Bass
Players’ Union had gotten wind of it, BUT the shit really hit
the fan when LEMMY hit the stage (assaulted it,is more like
it!), armed to the teeth with a Marshall Stack, his trademark
Motorhead bass, and his signature roar from below the
depths of Hell. He did, actually, have a SECOND bassist
playing, of course, the standup bass, as required by
Rockabilly law. Plus, Dan Harvey from The Rockats on
sizzln' lead guitar, and Slim Jim Phantom on drums. Lemmy
expelled all manner of fire, brimstone, and shrapnel, in the
same way that we've come to expect from him when he's on
his regular gig, but with some real Rockabilly commandos
at this back, pushing up the ante....THAT, dear friends, was
the ever lovin' SHIT. Chicago's Vincent Black Shadows
(now The Del-Morroccos) were a good draw, and combined
sexy Girl Group antics with a Rockabilly/Garage rhythm
section. Now, liking Rockabilly, and not Garage, is like
liking your Mom, but not your Dad, but things have changed
drastically since the days when we were still getting a new
Cramps LP and an issue of Kicks every other year. Oh, well.
Our great friend Deke Dickerson, tumed up later, and
rounded up eight stand up bass players to go at it at once!
Mayo Thompson would have approved. I'd say he could lick
any man in the joint (on GUITAR, you silly savage!), but
then, I also saw Charlie Gracie. While better known as a
Pop-Rockabilly crooner, Gracie's real claim to fame should
be his amazing guitar histrionics. Even in his seventies,
relying, to a degree, on a second guitarist (It's fair to assume
he struggles with that guitar-hatin' square, Arthur. Arthur
Itis, that is), it was still a real special treat, hearing him sing
and play the guitar boogie and the fiery, jazz-inspired runs
that are still his stock in trade. From there, we did venture
into Sixties territory with Roy Head, outta control with
Cracker Soul! Of course, Head isn’t quite the contortionist
he used to be, but he'll still give ‘em the James Brown

shuffle, swinging his mike as though it were a weapon (I
think a few people, nearer the stage, thought they were
going to get hit for certain), and, then, drop down on the
floor and do The Gator (a time-honored Texas tradition).
The Clovers, sans ALL original members, still managed to
sound like the real deal. Carl Mann is one of the better
"Pop" Rockabillies, and he did a fine job, here. He didn’t get
wild, so much as give the music the respect it deserves. Mac
Cutis and Ray Campi were cool, Campi proving to be the
showy showman I'd heard he was. When Joe Clay went on,
it was all over but the crying! He incinerated the joint with a
physically hazardous set of frantic Rockabilly, Perhaps he
wasn't the best singer on board, but he knew all about
urgent delivery, and it didn't take him long to forego the
stage, and make his way into the audience. Here's the thing
that would be the prize, to get Joe back together with
Mickey Baker, who put the fiery guitar licks in Clay's best
sides, when not doing the same for Louis Jordan or as one
half of Mickey and Sylvia. The main event was yet to come,
though...The Collins Kids put on one combustible set of
their Columbia classics, playing’ em like they were brand
new, and more than ably assisted by Dave and Deke, as well
as Crazy Joe, Deke Dickerson's boy wonder guitar protege
(well, if you can call mid-thirties "Boyish"). It's hard to
believe Larry Collins isn’t very much interested in
performing anymore, as I've been told, because he came on
like a total Rock Star, oozing charisma, while working every
bit of the stage in a manner reminiscent of our dear,
departed friend, Ronnie Dawson, and putting out the call to
any young guitar-slinger who fancies his chances, "Step
right up and get your ass kicked by a guy in his Sixties!”
Lorrie Collins, of course, was still in dynamic vocal form,
she could sing ‘em sweet and low, or she could put the hurt
‘on ‘em. Bad. She's still just adorable as the day is long, too.
Their set went from strength to strength, building up a head
of steam. It wouldn't take much for the whole thing to turn
into a massive volcanic eruption. Then, suddenly, and
without fanfare, who should walk out on to the stage but
The Fujiyama Mama herself, Wanda Jackson! The REAL
Power Trio of Larry, Lorrie and Wanda joined forces on
"Let's Have a Party,” a party I wished would never end, and,
unquestionably, the highlight of the whole wang dang
doodle. How could anybody possibly follow that? Well,
Levi and The Rockats immediately followed with a hard-
hittin’, high energy set. One half Hillbilly and one half Punk,
and 100% professional in it's execution, This was no
nostalgia trip for the nostalgia of a few Rockabilly revivals
past, but something that should be in regular rotation, today
(But due to logistics, with band members scattered about
The U.S and The U.K, that's just not a possibility at this
time). Guitarist Danny Harvey played just as hard as he did
with Lemmy, and Levi Dexter nimbly led the group through
their own best-known numbers, along with selections from
the songbooks of Matchbox, Crazy Cavan and Johnny Kidd
and THEE FUCKIN' PIRATES', followed by a promise by
Levi to bring the still-active Matchbox, Crazy Cavan and
The Pirates to the next Green Bay Festival! Good man. Mon
Frere, Rocktegenarian, Marvin Rainwater carefully and
tastefully pulled from his bag of early Rockabilly and Crazy
Country, and came up all aces every time. Dale Hawkins
was in terrific form, following some devastating medical
problems, though he's getting stronger all the time. Wanda
Jackson, though I've seen her many times, really came
through, too, with this performance. Definitely one of the
standout sets of the whole fest. Speedo and The Cadillacs,
predictably, were a good time, but I had a lot of records to
Jook at, and while some Doo Wop acts were very good, they
served mainly as background music for record shopping.
Two of the uncontested "sleepers" of the festival were
Rocky Burnette and Dig Wayne (and it was about time to go
to sleep when they came on, unfortunately). Rocky Burnette
had one of the more sympathetic bands that week, perfectly
capable of playing The Rockn’'Roll Trio material, and doing
it RIGHT. Dig Wayne, aka Buzz from Buzz and The Flyers
(‘70s/Early 80s New York Rockabilly band, best known for
a cool cover of Dale Hawkins’ "Little Pig,” which was
produced by Sylvain Sylvain), and aka the guy from the
(actually successful) Joboxers, and surely the only Black
guy at the fest not doing R ‘n’'B or Doo Wop invigorated a
relatively small crowd with a snappy set of Rockabilly that
ain't too fat and ain't too lean. The best thing, amidst all this
great, and sometimes, at least, passable, music, was all the
cool people I met. I met quite a few Rockabilly devotees
from England, Scotland, and Australia, many of whom were
quite pleased to find out I liked Cliff Richard. Others, still,
were amazed to meet a Yank who loves Jesse Hector and
Screaming Lord Sutch. My most interesting chance meeting
was with Dave Dudley's former merch guy, sporting a
super-cool Dudley tour jacket. There's not a lot of places to

——

I EDEEEEEEDEDDI EEE EE

go in Green Bay, should you have any free time (Wal-Mart
pretty much rules the roost, though there are a couple of
decent thrift stores), and the otherwise outstanding Oneida
Casino's food is to be avoided, but when in Green Bay,
might I suggest you try Culver’s Butterburgers and frozen
custard?

The Fleshtones "Take A Good Look" (Yeproc), SWEAT

by Joe Bonomo (Continuum Books continuumbooks.com)

The Fleshtones, much like The Cramps, have survived the
New York Punk Wars, when almost nobody else did,
They've remained true to their vision, and still release
consistently strong albums, today. Still, The Fleshtones (and
‘The Cramps) were never really accepted into the New York
Punk Rock Clubhouse, but to those who couldn't see the
real deal when they were staring right down at it (or in the
case of Johnny Thunders, who was friendly with both bands,
staring UP), I say, "You ain't no Punk, you PUNK! You
wanna talk about the REAL junk?” Both bands are probably
more Punk Rock than most, because they created something
of their own by pulling from sources like Rockabilly, Psych,
Garage and R&B. It was Do It Yourself before that meant
"Sound as shitty as possible.” Keith Streng once said the
real idea behind a Garage band is not to consciously decide
to BE a Garage band, but to put all your influences together
into one thing. If it happens, and you're on the same page, it
can be like your first band in High School. The Fleshtones
have been that band you wished you could have had, or wish
you could have held on to, for over thirty years. But at what
cost? More on that, later. "Good Look" finds them with the
same stripped down production, tight songwriting, and
impassioned performance of, basically, all their records, but
particularly the ones from the last ten years or so...Jt seems
like only yesterday (OK, yesterday plus 25 years ago) that
"Roman Gods,” their debut was the only really cool record
that, somehow, made it's way to my local Wal-Mart (in
multiple copies, yet!). Well, Wal-Mart isn’t going to help
you, today, but forget what you've been told, hit your local
record stores (If you still have any) and see if you can find
this modern gem. If that should fail you, contact the label.
You can dig into this Noo Yawk pizza by separating it, song
by song, and finding the outstanding attributes of each, or
taking it in as a whole, That's not to say it's a "Concept
Album.” This is the real world, this ain't no still life. Of
course, The Fleshtones are STILL the high-octane Garage
Rock Party band they were 30 years ago, when you still
couldn't buy a rock of crack and/or a Pebbles comp around
the corner. Songs like "First Date (are You Coming On To
Me)" sound enough like "The Castaways’ Great Lost
Album" to keep the fun-filled Frat Rock pace, and the good
times flowing like that strange Blue Whale concoction
(more on that, later). While it's true, my boys (and I want to
make them YOUR boys) have been in the game longer than
many of your popular Punk-Garage bands have been eating,
shitting and breathing, they did not back down when the
going got tough, Their music just got tougher. Yes, I saw
The White Stripes do an OK show to about 40 people a few
years before their non-Garage Rockin’ sounds, and a lot of
hype, had people thinking they were going to steal Lux and
Ivy's crowns as The King and Queen of Garage-Trash. But |
also, recently, saw The Fleshtones play to only about a
dozen more people than that, in the Bingo room of an Eagles
Club in Green Bay, Wisconsin. Which gig do YOU think
delivered more satisfaction, more Super-Rock Action?
There's no need for me to make a retraction. While the
band's reputation as #1 Party Band in the U.S.A. (and
abroad) has never tarnished, the raw energy of their live gigs
has translated onto plastic better, in the past ten years or so,
than even their first three studio LPs, all of which hold up,
today. Like Little Richard's Specialty sides, if this stuff
doesn’t make you wanna wreck the room, man, I feel sorry
for your old lady. "Shiney Heinie,” featuring guitarist, Keith
Streng's, usual Slade-worthy vocal, may seem like a song
about ass on the surface, but on closer inspection, it's about
his way-out "Weird-Oh's" racer, with vivid imagery about
multicolored metal flake and chrome piping coming out the
back (granted, that would probably describe SOMEONE'S
ass). Nevertheless, it does contain some of the best-placed
curse words in a recent Rockn’'Roll song. The way Streng
screams "KISS...MY..AAAAAAAAAASSSSSSSS!!!!"
would have broken all the glasses at Pavorotti's wake, and
made Fleshtones' uberfreund, Handsome Dick Manitoba,
very proud. "Love Yourself" isn’t about THAT. "There is
no greater wealth than your mental health, yeah, you better
love yourself, cause, if you don't, no one else will..” This is
an anthem to self esteem that charlatans like Dr. Phil
couldn't even grasp, but YOU can, because, if you're
reading Roctober instead of watching "The Doctor's" drivel

on TV, you must already have a higher self-opinion than
most. The album fades out with some horriffic screams,
perfectly suitable for an early Cramps demo, or that
Mexican Horror-based film Zaremba’s been threatening to
make. I don't know where Lorena Velazquez is (and if I did,
T wouldn't tell you), but "Brainiac II " is about 50 years
overdue, Til then, "Take a Good Look" will suck your
brains dry. a good way. Some people might think that
The Fleshtones’ story is one not worthy of novelization, but
that's where they'd be wrong. More than just the story of a
driven Rock n” Roll band with it's roots in raucous Garage
Punk and greasy, sweaty R&B, SWEAT is also a three
decade whirlwind of rejection, blown opportunities, the
ever-elusive hit record that never even checks into a motel
with the same area code, gratuitous violence, prodigious
substance abuse, death, and (Can your heart stand it?)...Gay
Disco. Author Joe Bonomo follows the band from their
earliest childhood musical inclinations to the bloodied, but
unbowed, present-day incamation like a fly on the wall at
every significant event imaginable in the band's remarkably
long and varied career. You'd swear he was there, taking
notes with meticulous attention to detail, when The
Fleshtones were conceived over a treasure trove of crappy
knockoff guitars found in a basement, a mutual fascination
with obscure AND Top 40 Garage and Soul 45s, set to the
tune of an endless run of crazed house parties, where, for all
the drink and drug-fueled debauchery, one thing always
took precedence over the rest, a strange, near-flourescent
concoction called The Blue Whale... (1 can frozen
concentrate yellow lemonade/fill can once with blue
curacao/fill can twice with vodka/add lots of ice...) Their
parties, naturally, got them kicked out of their place of
residence. It all came to a head when the cops showed up
during one such soiree, and were met by Keith Streng in a
lobster costume, and a car crash during a run that almost
spelled the death of three (though sax player and toughest
nut of the bunch, the late Gordon Spaeth, retumed, covered
in blood, in tears over his newly-broken Motown singles).
The party house, predictably, got shut down, though the
party would go on, thirty years and counting. Before too
long, the band got good enough to play CBGBs, Max's and
other venues of note. They even got signed to a record
contract (they should have read the fine print) by Marty
Thau, the man who "discovered" The New York Dolls.
Their tumultuous relationship with Thau resulted in exactly
one 45, two tracks on a compilation, and a proposed album
which, though never officially released at the time, made it
to cassette, CD, and, later, vinyl, on several labels, making
the highly enjoyable, though demo-quality at best, album,
"Blast Off!" the best-distributed Fleshtones product. The
band and Thau's marked disagreement over the "ROIR
Sessions" is well-documented in these pages. Signing to the
fledgling IRS record label, who would later strike gold, if
not platinum (ask someone who never goes out) with The
Go-Go's and REM, both friends of The Fleshtones, who
could not figure out why they weren't getting a piece of the
same action. Some might say part of it lay in the fact that
Peter Zaremba often sang in a semi-intelligible manner, but
that couldn't be it, because Michael Stipe built himself on
an UTTERLY incomprehensible singing style. Arguably,
The Fleshtones weren’t made for the era they found
themselves in, where, for every Wall of Voodoo (also on
IRS) with a fluke hit, there were a thousand Scandals and
Quiet Riots waving a license to print money. Their proposed
hit single "Right Side of a Good Thing,” for all it's
pleasures, didn’t have a hope in Hell of making it on prime
time radio. The 80s. These were the times that tried men's
souls. At the dawn of the Octagenarian Age, the band put
out the "Up Front” ep, working with Jerry Wexler's Son,
Paul, hoping to draw from the well-known magic his Father
had conjured up time and time again. Well, there's more
play-by-play head butting, here, about how THAT turned
out, but I never, personally, thought it was a bad record at
all (though the book goes to great lengths to say that it is).
Later someone had the big, bright idea of turning The
Fleshtones into a Children's music outfit as "The Punk Rock
Vegetables" (Yes, dressed like vegetables), with the promise
of a lot more money than the chump change they were
drawing in NYC nightclubs. It may have seemed ludicrous
at the time, but they could've wallpapered their houses with
money on such a concept today. The heartbreak of
commercial failure burns itself into the pages of this tome
more than once. Even though, in time, everything is as
should be on their albums, it's never enough to put them on
the charts with the heavy shitters. The Fleshtones will
remain underdogs with a small, but loyal, fanbase. Kind of
like a Chicago Cubs, minus hundreds of millions of dollars.
Bonomo really gets the untold story from the band and their
associates, and they open up to him like an old, and trusted,

friend. He gives an honest, non-judgmental, account, and
gets the most out of the good stories, as well as the not so
good ones. The Fleshtones make it clear that they have
nothing to hide, though it took a writer, and a friend, like
Bonomo to bring these things out. Against all odds, the band
soldiers on, conquering Europe, and even her colonies in
The Carribean, but they still could not make their claim on
the home turf that they loved so well. "Have you heard the
American sound? Don't wanna hear you put it down!” Their
fanbase in the states has gone up, down, then, up again, over
the years. Like The Cramps, though, arguably, on a bigger
scale, The Fleshtones play the ROOM as much as they do
their instruments. One such incident, that I, myself, was
privvy to, is recounted here. The band climaxed a typical,
blistering, set at The Empty Bottle in Chicago, full of bar-
walking and playing from all angles of the room, by simply
walking out the door and crossing the street, instruments in
hand, then, getting in their car, waving, and driving off. Bill
Milhizer stayed on, still playing that Super Rock beat, in the
other's absence, until he figured it was a good time to wrap
it up, But there's so much more to the story than I have time
or space to relate to you. Be assured, this is a well above
average Rock read, one you might find yourself digging,
even if you're not really a fan. In any case, you'll be amazed
at the fighting spirit these boys have displayed. Some
obstacles they may have brought on themselves, while,
others, far more cruel, were beyond their control. But this is
still a story of snatching victory from the jaws of defeat,
Success on one's own terms. If you want to see how it turns
out, just go see The Fleshtones, baby. They'll put you
straight, "Life can take its toll, when you're living Rock n’
Roll!!"- The Dictators.

BO DIDDLEY

REST IN PEACE

10' TORCH, September 17, 1973

‘Funkadelic’ still on top of rock

By Pedro Bell

Still remaining as one of the
most original and best bands of
‘pizarro rocky is FUNKADELIC,
Formerly two seperate groups,
‘recording on different labels,
but touring together as the Par-
Wafunkadelicment Thang) r & b
group Parliament and instrumen-
tal band Funkadelic have finally
(and legally) merged as one

group,

With this accomplishment, the
‘new Funkadelic have released
their ‘fifth? album, ‘Cosmic Slop
(Westbound/WB 2022), No doubt
that much of lateenight Ameri«
ca was awakened out of TV hy=
pnosis, when a commercial de»
picting the garishly costumed
Funkadelics raped their vision
while advertising this album dure
ing the summer months,)

As on previous Parliament/
Funkadelic albums, Funkadelic
proveded the music for ‘Cosmic
Slop and Parliament supplied
most of the vocals, along wit
some higher octave inspiration
from Issac Hayes? Hot, Buttered
Soul,

The first side of ‘CosmicSlop
begins with asinisteretitled inste
rumental track, ‘Nappy Dugout’
eesea funky rhythm-equipped tune
that’s in true Funkadelic tradie
tion, Since members of (formere
ly) Parliament contribute mater=
ial to many Funkadelic songs,
*You Can’t Miss What You Can’t
Measure’ is saturated with the
r & b style, rather than that of
Funkadelic’ s,

A favorite on the few proge
ressive local FM stations is
‘March To The Witch’s Castle?
another song of the Funkadelic
tradition which has political con-
natations: a dreary voice nare
rates the various problems of

ratiming uate fram the Wininam

Even though ‘Let’s Make It Las?
shows all of the original togeth-
erness of early Funkadelic proe
duc the group may have
lost their musical director and
keyboard man, Bernie Worrell
(recently seen with another
group), but have regained their
original lead guitarist, Eddie
‘Maggot Brain? Hazel,

The album’s title track on side
two, ‘Cosmic Slop is another
Funkadelic noveltyewsthis time,
a musical social commentary a-
bout a woman forced to hustle
to support her children, ‘Broken
Heart’ is another Parliamentein-
fluenced track that’s drippin’ with
nostalgic do-wop rhythms and ly-
rics, Other songs include; a short
monsteg jam entitled, ‘Trash A
GoeG0, an average track, ‘Can’t
Stand the Strain’ and an unfor-
givable dude, ‘No Compute (Al-
jas Spit Don’t Make No Babies),
In overall quality, veteran Funke
adelian fans will find the albuma
gem only after some mileage on
the grooves, but newcomers to
Funkadelic’s uninhibited style
should find ‘Cosmic Slop’ instant-
ly appealing, Also, a notorious
RU student who modestly chooses
to remain anonymous (P,S, His
initials are Pedro Bell), was ree
sponsible for this album’s liner
notes, and was the coeartist and
designer of the blasphemous arte
work on ‘Cosmic Slop?

. 7 * *

NOW THAT FRANK Zappa and
the Mothers have split in several
directions (Flo and Eddie, Rue
ben & the Jets, Frank Zappa &
Friends), I wondered who would
be willing to fill the void left
by Zappa’s heavy-business de-
parture from humorous stuff,
But thanks to some unforseen
causes an untypical Englishman,

accidental commercially-accep-
table fluke,

Featured on ‘Electric Shocks’
is a dinky kind of singea-long,
‘all By Yourself In The Moon-
light? with such distinguished
guests like; the Putney Male
Voice Choir, Acme Brass Band,
and according to Roger Spear,
‘World War Ill appears by kind
permission of those Respon-
sible”? Other songs of questions
able intellectual value include;
‘Pm A Fly,’ ‘Blue Baboon,’ and
‘Make Yourself A Happiness Pie,’
A satire on white blues singers
is the topic of Spear’s ‘Mattress
Man? ‘Doctor Rock’ combines
music of various eras and com-
edy dialogues into something the
old Mothers of Invention could
be proud of!

Two other ‘The Liber=
ty Laughing Song,’ and ‘Patrick
Moore’ (supplied with what
sounds like a Markettes revi-

have no commercial value
but that’s typically Zappasque,
Ending this cryptic album is ‘Live
ing Doll? complete with a ‘shi-
bardiebardi-boom’ vocal rhythm

section, assorted nostalgic in= "

strumentation and Spear’s own
auto-clapping machine, Since the
world didn’t outgrow Frank Zap
pe’s previous satirical music,
there’s probably enough room for
Spear’s attempt totake the starch
out of today’s heavy music at»
titude,

*. 2 6

THOUGH PINK FLOYD is ace
knowledged as the foremost group
in electronic rock, it is primare
ily because the band is come
pletely capable of reproducing
their album stuff for live audie
ences, By employing the use of
an elaborate quadrasonic sound
system, moogs and multi-tracked

two parts for each side, and the

provide their kind of special ef-
fects in concerts; something that
few of their studio-enslaved
counterparts would be willing to
undertake, However, not all of
us are concertegoers, so other
groups of worth id be rece
ognized for delivering electronic
headvibes.

egory are King Crimson and
White Noise (which is a name
more suitable for GFR), Like
Pink Floyd, both of these groups
are English in origin, which once
again illustrates this country’s
tendency to remain a poor sec~
‘ond to progressive idea devel-
opment in rock music, The late
ast album from King Crimson,
‘Larks’ Tongues in Aspic’ (At-
lantic/SD 7263) illustrates the
high degree of musicianship by
the group, There’s nothing on
this disc that you can dance or
keep a beat -to--you just gotta
listen! The most noticeable thing
about ‘,,.Aspic,’. is that K,C,
does one of those ‘Outer Lime

3 THEY control the vole
“The title cut is split into

first one will send you through
some changes! It begins with
faint chimes and thumb piano
melodies and continues like that
until you do something foolish and
up the volume stereo, Suddenly,
K,C,’s Robert Fripp’s guitar and
David Cross’ mellotron scree=
ches in at five thousand decibels
and splats you on the opposite
wall from the speakers!

We natty y musiesfor lovers.
uo ae '

&-wéave in and out of the
‘aspic’ track in classical moods
without getting offensive to any
rock music mentality, The tempo
and mood of the composition
changes dramatically throughout
with all the finese of a master~
piece, Another track, ‘Easy Mo-
ney’ gives bassist John Bruford
a chance to provide justeright
vocals and a few heavy notes,
Another composition with mus-
ical ebbs and ‘Talking
Drum’? enables drummer Bill
Bruford and percussionist Jamie
Muir to exchange a variety of

cont. on page 13

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A favorite on te few proge
ressive local FM stations is
*March To The Witch’s Castle,
another song of the Funkadelic
tradition which has political con-
natations: a dreary voice nare
rates the various problems of
returning vets from the Vietnam
conflict, and questions Amerie
¢a’s role in the world and Nixe
on’s ‘peace with honor,’

Guitarists Gary Shider and Ron
Bykowski have finally gotten in-
to the groove to help make ‘Let’s
Make It Last’ the album’s best
song, instrumentally, Constant
personnel changes withing the
Funkadelic organization has hurt
the groups ability to keep their
music consistent, and has proved
irritating to some of their fans,

ben & the Jets, Frank Zappa &
Friends), I wondered who would
be willing to fill the void left
by Zappa’s heavy-business de-
parture from humorous stuff.
But thanks to some unforseen
causes an untypical Englishman,
Roger Ruskin Spear seems to
have the necessary qualifications
of musical insanity to secede
Zappa,

Combining a motley assort-
ment of relatively unknown muse
icians, handmade music instrue
ments and multierecorders with
wayward lyrics and/or topics,
‘Electric Shocks’ (United Artists
UAsLAOS7F) appears to be an

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system, moogs and multi-tracked
recorders, Pink Floyd is able to

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summers touring around with, well for instance Conway Twitty -
he later became Conway Twitty - when I knew him he was
Harold Jenkins. I would travel around the Arkansas area playing
all the night spots with him. He had a couple of good selling
records and that led into us going to Canada. We were very
successful there. We were one of the first rock bands to get in up
there. Then, and a guy named Billy Riley showed up and talked
me into leaving Conway and going with him. Then, we ended up
coming back and being studio musicians at Sun Records. That's
what we did primarily along with other extraneous jobs. We
would play behind such artists as Charlie Rich, Jerry Lee Lewis,
Roy Orbison, and just about every artist who came through there,
we played behind him in some form or fashion.

Why did you leave Conway to work for Billy Lee?

We enjoyed working together and working with Conway. In fact
I was his roommate on the road. There wasn't any personality
conflicts or anything. But Billy's group with J. M. they played
the type of music that I really liked. And, I really like the idea of
going back to the studio and working out of Sun Records. So,
with Conway's career unknown at that point, we knew some big
things were going to happen for, but then here were some people
from my home town that I knew that I could go work at Sun
Records. So, we left Conway and went with Billy after finishing
up some Canadian dates.

What was Billy Lee Riley like back then?

(Laughs) I guess he was about like most of the rock singers. We
didn't do crazy things like you read about today. There were no
drugs, we didn't do drugs or stuff like that. Only a few of us
even smoked. Sometimes there would be some drinking at a club
or something like that, but nothing like what you read about on
the artists of this era. It was very tame and not many of us got in
a lot of trouble. It's almost like day and night to compare our
musical spectrum to the wanted to read about and know about
from the last 20 years.

Why wasn't Billy Lee Riley as big a star as Elvis Presley? He
certainly had talent.

Well, like everybody else I have my opinion. It probably isn't
worth much. (Laughs) My opinion was that when we worked at
Sun Records, the hot artists that were coming out of there -
Johnny Cash, Charlie Rich and Roy Orbison, Elvis had already
left - but it was my impression that Sam Phillips didn't put as
much promotion behind Riley as he did the other acts. I think
that would of catapulted Billy into the limelight. There was a
window there where he could've gone over big but I don't think
he got the support. At least that's my impression of what was
going on there. To me, Billy was one of the most super talented
guys. I have a favorite story about him. We used to travel all on
the road quite a bit and hurting for instruments or something to
break the boredom, he would take the ukulele and a big salve jar
and he'd make a microphone and a guitar out of it and he just
break everybody up with the things that he would do. The guy
had talent running out of this his ears and he could play any type
of guitar or any type of stringed instrument or any type of music.
There is hardly nothing that he couldn't do and he was the
hardest working guy I've ever seen in my life. But he just never
got the break that the other guy's got.

Do you remember much about working with /legendary
producer] Jack Clement?

Absolutely. We used to call him your friendly engineer. We
used to love the guy. He used to make road trips with us and
played bass for us. He was very talented. Working in the studio

THE LITTLE GREE® AEN

ee. PAT O'NEAL MARTIN WILLIS

BR. JIMMY WILSON BILLY LEE RILEY
J.-A. VAN EATON

with him, just quick note on that, well number one he had a great
sense humor. He had to have a great sense humor to put up with
guys like us in the studio. I remember one session in particular -
people don't believe this - Riley can verify it we were doing a
session and we didn't have very much high-tech equipment. We
had a two-track Ampex machine and something like that and
slap-back echo, which is terrible if he didn't know how to really
control it. Jack was probably one of the best to control it. So we
had had some echo and Riley was doing this tune with us and the
men's room was back in the control room, so he'd take his
microphone back into the men's room and record from there for
the echo effect. Then, one day he flushed the commode right in
the middle of the tune. (Laughs) Clement went nuts. This is the
kind of fun we had when we would record.

When sort of suggestions did Jack make in the studio?

One thing he always told us was about the presence of the
microphone. "Don't get too far back or turn away when you
doing this." He'd give us advice on how to get our best sound out
of the mike. Secondly, if some part of the instrumentation was
overpowering he tell you,"Bring your guitars down." or "Maybe
that's a little bit too fuzzy." "Do something more simple." He had
a good ear from the control room side.

Did he ever make song selections for the band or was that
entirely up to you guys?

No, he sometimes helped us with that. I know he was a great
writer because he wrote for Charlie [Rich], Johnny Cash, and
gosh I don't know how many people. As I said, Jack was another
one of these tower of power talents. He could do just about
anything. You look of the things that Jack wrote for Johnny and
for Charlie that have that sort of country flavor, in my mind that
was the thing that Jack liked best. You look at the names in the

“Who Was That One Sax Player at Sun Records?”

Martin Willis

by Ken Burke

Unless you’re knowledgeable about Sun Records or - more unusually - a
hardcore fan of the Bill Black Combo, you probably don’t recognize the
name Martin Willis. A ve: le sax player capable of blasting out r&b
style rock'n'roll, oozing late night jazz, or blaring joyous dixieland at a
moment's notice, he brought a sense of inspired professionalism to
everything he attempted. Further, the indefatigable musician’s musician
played in several Memphis area bands, cut countless sessions at Sun,
and helped Bill Black find his hitmaking sound at Hi Records, all while
attending college

There were other sax players at Sun Records before he arrived -
Raymond Hill and Jackie Brenston most notably - but during the label’s
rock'n'roll era, Willis was the main man. His entrée to Sun Records
came via Billy Riley’s band the Little Green Men, which initially
featured guitarist Roland Janes, the teenaged drummer J.M. Van Eaton,
bassman Marvin Peppers and Jerry Lee Lewis on piano. (After Lewis
struck gold with “Whole Lotta Shakin’ Goin’ On,” the eccentric Jimmy
Wilson took his place.)

Initially, Riley and his band employed the hard charging guitar and
piano-based rock’n’roll sound that resulted in the legendary waxings of
“Red Hot” and “Flying Saucers Rock & Roll.” However, when Riley
started work on a proposed album for the label, he turned to Willis to
arrange the tunes. Tracks like “No Name Girl,” “Got Your Water Boilin’
Baby,” and “One More Time” never became hits, but heard today they

embody the bluesy sound closest to the singer’s heart.

Although they never broke nationally, the Little Green Men were
considered one of the hottest show bands in the Mid-South. When not
tearing through clubs and dancehalls, Willis and his bandmates - in
various configurations - played on countless sessions for Sun and the
subsidiary Phillips International labels behind the likes of Jerry Lee
Lewis, Charlie Rich, and many others. Union paperwork from the
label’s stay at 706 Union Avenue is often missing or inaccurate,
likewise documentation from the Phillips studio at 639 Madison. As a
result, many of the saxman’s contributions have been misidentified as by
another musician. (Guitarist Luke Wright is often noted as a sax player
during the 1960 - 1963 era.) Rest assured, if you heard a ballsy, bright
sax on a Sun recording, Martin Willis was the player

My main interest in Willis was his connection to the original Bill Black
Combo. While conducting interviews for The Blue Moon Boys - The
Story of Elvis Presley’s Band (Chicago Review Press, 2006), we spoke
at length about his connection to that famous corny band with the catchy
sound. Now a consultant for the hotel and hospitality business in
Tampa, Florida, Willis - who has earned a PhD - proved articulate, fun-
loving and upbeat, as he candidly spelled out his role in Memphis’s
rock'n'roll revolution.

Ken Burke: Where were you born?

Martin Wilis: I'm originally from Memphis but I've spent most of
my time in Arkansas. That's where all the jobs were that we
played, the little honky-tonks in places like that. They were in
Arkansas. When I for started out, | was too young even going to
nightclubs but I would sneak in and play anyway.

What did your folks do for a living?

Well, I was born and raised in Memphis, the East Memphis area.
It was called the Treadwell High School area. Mom was a
homemaker and dad was with the Firestone tire Co. for about 30
years. He retired with them.

I take it that Firestone was a major employer in that area?

At that time, yes. There was a big plant there. That was quite a
tire place. During the war the mail lot of war and munition type
products. They made rafts and all the things associated with the
army and military.

What made you want to become a musician?

Well, two things happened that turned me in that direction. One
was when I went to a little High School up there called
Hollywood junior high school and at that little junior high school
there was a sax player by the name of Johnny Cannon. Later on
he was known as Ace Cannon. He was three years ahead of me
in school and he would bring his little trio into our classrooms
and play. I saw that and said, "I've got to learn how to do that."
So, I decided to make that my career. Then my mother then took
me to see a movie called The Fabulous Dorseys. That just added
fuel to the fire. So I decided I wanted to be a musician. I didn't
have a horn and I couldn't afford a horn, so I borrowed a horn
from a friend of my dad's. I eventually started playing jobs and
earned enough money to buy my own instruments. I was
working nightclubs when I was about 15-years-old.

How do things like that happen?

(Laughs) Back in those days they didn't check your ID too good.
Of course I didn't drink or anything, I didn’t have any bad vices.
I'd just sneak in, play the job, and sneak out. Get my money and
go home.

Did the union help you set that up?

No, that was long before I was old enough to even be in the
union, The union would have died if they had known what I was
doing.

Were you basically playing jazz and big band music or were
you into rock ‘n’ roll?

Well, that came later. When I was in college, I would spend the

involved guirtarists rocking out wild and smooth in giant goblin puppet
heads. Look it up on Youtube and brace yourself.

SAMMY DAVIS JR. UPDATE
The Cable Guy (1996) This much-maligned film opens
with a montage of channel surfing through static-riddled
TV footage that is supposed to represent the boring drivel
peons with antenna TV’s must endure if they don’t have
cable. And smack dab in the middle of infomercials and
the like is Sammy going head to head with Archie Bunker
on All in the Family. Seriously, would that be a reason to
hate broadcast TV? Ad who would turn the channel when
that was on? I understand some folks hate this movie
because of Jim Carrey’s over the top performance and
bizarre accent, but the film’s defaming of the immortal
“Sammy’s Visit” episode is what turned me off.

ROBOT ROCK UPDATE

Not only has French robot dance band DAFT PUNK
become mainstream superstars by appearing on stage with
anye West recently, but the band also produced their own
robot feature film (with no electronica in it) called
Electroma (2006). Non-Daft Pubk actors play the robots
and the experimental art film includes a robot plastic
surgery.

10 SECOND INTERVIEWS:

Peter Green
(Original Guitarist, Singer-Fleetwood Mac)

Roctober: Peter, how are you doing?
Peter Green: Terrible! And I haven’t even got
The Blues!

Hugh Cornwall

(Original Singer, Guitarist-The Stranglers)
Q: Hugh, do you remember playing at a place called
The Hot Klub in Dallas in 1980, and this guy slashed
your tires?

A: Hmm...Maybe, I'm not sure.

Q: I just thought I'd tell you, the guy who did it (Bobby
Soxx) is dead, now.

A: Oh, I see. Did you have any part in his demise?

J ohn Lee H ooker

ae GP
Roctober : Mr. Hooker, that was a fantastic show!
John Lee : Get me a Light Beer.

Steve Miller

My Brother: Steve Miller!! YOU'RE Steve Miller!!

Steve Miller : Yes

When you did "Big Old Jet Airliner,”... THAT WAS AWESOME!!!
Oh, Thank you!

Ostrowski and it was always a very wonderfully loud, cathartic
experience. He would wail away wildly and wiry on the fiddle, teeth
missing- he’d often joke that he looked like Reid Fleming, World’s
Toughest Milkman- the hair on the sides of his head blowing as strings
frayed. Damn, he looked great. And he’d always be grinning, man, he
was infectious. And here’s the thing that really made me love Noggin:
Michael /istened. So much of playing this kind of music is based on
response and he had the most amazing listening faculties. Michael also
played in the multi-piece wild rock act Behead the Prophet, No Lord
Shall Live and so many other types of combos. In the 50’s he played in
various country bands and started playing noise music in the 1970's (!).
He explored all kinds of mediums. From the 60’s to the 80s he was a
visual artist. In the last couple years Michael was writing plays and a
novel in his home in Washington.

Michael was incredibly enthusiastic and encouraging to so many
people. I remember him telling me that it didn’t matter what instrument
you played or how many people you had: you could still start a band no
matter what the combination of people and instruments! His spirit is
truly one to cherish and pass on to others. It’s impossible to ‘sum him
up’ but there will be various wakes in and around Washington for him.
R.LP. Michael Griffen

STEVE GERBER: In February of 2008, Steve Gerber passed away at
the age of 60 from complications due to pulmonary fibrosis. Steve
Gerber was the greatest writer of the post-Silver Age super hero comic
book genre because of —not in spite of- occasionally flopping! Gerber
really experimented with the medium, he took risks and took them
honestly. He really explored the possibilities of the form by
entertaining the readers and giving them pure personal expression.
Some comic book writers in the 1990’s would get great acclaim for
doing what Gerber had already done far earlier on. Steve Gerber delved
into the realms of the mystical, the satirical, the cosmic, and the absurd-
often in the same story and always with a firm focus on human
relations.

His work in the early 70s on Man Thing- a shuffling muck monster that
would burn people’s flesh if they showed fear- centered on the
characters that surrounded Man Thing and the effect Man Thing had on
them. In a boldly autobiographical move, Gerber actually placed
himself in his last issue of Man Thing as a central plot point. It was also
in Man Thing that Gerber created an incidental character that grew to
great proportions despite a small, webbed stature: Howard The Duck.
Howard was a grumpy cigar chomping duck who was “Trapped in a
world he never made.” The duck’s popularity resulted in his own comic
book. It was a great run-including Howard running for President- that
eventually soured in real life. Gerber left Marvel in disgust and then
went into a lawsuit against them over the ownership of Howard. This
left various lesser talents to take over the writing of Howard The Duck
comic book, not to mention a really infamously bad movie that still
causes many fans to have to defensively explain the gritty, satirical
character-based work that Gerber did on the original series to the great
unwashed.

With Gerber leaving Marvel, his interpretive and odd series Omega the
Unknown, which he wrote with Mary Skrenes, was left unfinished and
remains so to this day. Omega was a comic book about a genius-level
boy orphaned by robot parents and left to live in the gritty, inner city of
New York while a mute super hero inexplicably roamed nearby. The
connection between this boy and the hero was never properly
explained, as Skrenes and Gerber vowed never to reveal the ending of
the series- unless it saw print as a comic book. Readers also never
found out what the meaning was behind a gun-toting elf that would
make very random unconnected appearances in The Defenders. With
The Defenders, Gerber really explored the wildness of this unlikely
super hero non-team. Their nemeses, super villain team The Head Men,
were so named due to them all causing different types of head
disfigurements on themselves. The Head Men’s female member, Ruby
Thursday, had a gorgeous body and a gleaming round featureless red
dome for a head. One deliriously confusing storyline involved The
Head Men causing scientific brain transplants followed later by Dr.
Strange conjuring up mystical mind transplants from these transplanted

brains and also putting a villain’s consciousness into the body of a baby
deer that The Hulk had rescued (“Men killed Bambi’s mother!”). Phew!
Gerber’s lawsuit with Marvel made him an early advocate of comic
book creator rights in a time where there practically weren’t any. As a
fundraiser for his lawsuit, Gerber teamed up with Jack Kirby, the man
who created most of the Marvel Universe- a universe he made but did
not own. Together they created Destroyer Duck, a rather darkly violent
piece of satire. Gerber was not allowed to publicly discuss the law suit
settlement’s terms that he reached with Marvel. He often returned to
Marvel to write Howard The Duck including a six-issue run in 2002.
Over at DC’s Vertigo imprint, in the 90’s Gerber did the limited series
Nevada based on two incidental characters that appeared as a joke in an
early text-based autobiographical fill-in issue of Howard the Duck.
These two characters were a Vegas showgirl and an ostrich. Las Vegas
was a setting that Steve Gerber would retum to again and again as it
was his actual place of residence. As a setting in super hero comic
books this created some fascinating incongruities and possibilities. His
Dr. Fate comic book took place in Vegas. It was his Dr. Fate series
that Gerber was frantically writing in his last days on the hospital bed.
Left unfinished (other writers will be offering their own conjectures
and tributes to Gerber in the last issue) it showed that, despite
adversities, this man still had an incredible spark until the very end.
Space does not permit me to go into the numerous comic books and
animated cartoons (ie. every episode of Thundarr the Barbarian) that
Gerber worked on but I do recommend that you seek out his all too
under-rated works.

R.LP. Steve Gerber.

CHARLES GOCHER: On February 19", 2007 after a long battle with
cancer, Charles Gocher left this earthly plane. If you had ever seen him
drum with The Sun City Girls before then you would know that he had
left this plane many times before. The Sun City Girls were an
inspiration to many. They could not be pigeon holed by genre, they
would change from album to album and within albums. They just were.
It is difficult to say which worked faster: his brain or his arms? On the
drums he was the multi-limbed Kali, the destroyer, the creator, the
reconfigurer. His brain was fully connected on many levels. I once had
the opportunity to watch him work. Before a show he was witness to a
conversation between an Australian man who wanted to marry a
woman for citizenship and my bandmate who said she’d marry this
man for a price. During The Sun City Girls’ set Charlie took this
conversation and reconfigured it in an accurately reproduced Australian
accent describing in hilarious detail how he’d marry a woman for
money then murder her...Charlie would often take on various
characters. His concept solo album Pint Sized Spartacus shows this
talent in detail as he very loosely distorts and recounts, through various
means for various ends, the story of Spartacus in mock-gangster terms
rendered in wild poetic verse. He was pure wow. As he was one third
of The Sun City Girls- all three parts very valuable, Alan and Rick
Bishop and Charlie, all three of them brothers- they no longer exist to
perform or record.

R.LP. Charles Gocher.

MONKEY ROCK UPDATE

BRASS MONKEY - English folk band circa 70s-80s.

MONKEY MAFIA - Jon Carter’s 90s British electronica/DJ act.
MONKEY MAJIK — Canadian expatriate tumed J-Pop star in Japan in
2000.

JESSE “MONKEY JOE” COLEMAN - Mississippi-born/Chicago
based blues artist who recorded in the 30s and performed until the 60s.
MONKEYWRENCH - 1991 Mudhoney/Big Boys side project.

IRON MONKEY — 1990s English sludge metal act o Earache and
Man’s Ruin records

MONKEY SONGS: Slade "Them Kinda Monkeys Can't Swing,”

MASK ROCK UPDATE

MASAYOSHI TAKANAKA - Performed an epic fusion rock concert
dramatizing the Japanese children’s tale “RAINBOW GOBLINS” That

one are originals. The Mauriora Maoris are from a time when one had
to back up the ability to entertain with versatility, which they do while
effortlessly mixing styles and providing a cultural history!

If you know anything about this record please contact me at:
moustachedpainless@ yahoo.com

(2 ae

<o Th
Sa

ciate

Robert Reviews...

Popeye Vol. 1: “I Yam What I Yam” by E.C. Segar

Popeye Vol. 2: “Well, Blow Me Down” by E.C. Segar

(Fantagraphics)

What many of us know of Popeye is a mere bastardization faded
through Xerox visions. This may be a controversial statement to
Popeye diehards but possibly the closest anyone got to the original
template was Robert Altman’s Popeye movie (a box office bomb and
near career destroyer) with its sprawling seaside ruddiness and great
songs by Nilsson and Van Dyke Parks. The original true Popeye was
crusty and, at first, only incidental.

Volume One starts at the beginning of Popeye but the real beginning
was years before. When E.C. Segar began his Thimble Theatre
newspaper strip it was little more than a comic take on adventure
serials, damsel in distress kinda stuff. Eventually genre parody gave
way to propelled flights of whimsy, stereotypes dissolved as Segar
developed true characters and archetypes to propel these continuing
misadventures, such as Olive Oyl and her brother Castor Oyl.

One day in early 1929 Popeye just plunked down into frame
unforgettably. Then- after just a few short months- disappeared back
into the ether. He wasn’t gone for long. Readers wrote in, they needed
Popeye, a spark was struck, something had stuck, a comic anti-hero that
caught permanent fancy in the publics’ twinkling craw. The strip was
brilliant and Popeye just fit. Segar already honed the slang and jargon
of the day but with Popeye it was even further skewed mutterings of
verbiage. Thimble Theatre was like ergot laced barnacles, comedic
character interaction with a beating bandaged heart, rough and tumble
gags laced with depth, and elements of the fantastique with such wild
characters as the eerily menacing Sea Hag and the wish granting
whiffle hen that people kill each other over. Most importantly,
Thimble Theatre was funny, These big bound collections are a pure
antidote for depression, especially if one veers towards surliness or
cynicism- though wide-eyed naivetes can easily enjoy it as well.

With these collections one should gregariously steel themselves for the
real Popeye, the original ancient scrolls that stem right from just before
his first appearance continuing onwards chronologically. This Popeye
defied the conventions that were later to be thrust upon him by the non-

Segars, the lesser lights. Don’t expect self-contained gag-a-day material
either- these strips have storylines that continue for months making
these volumes all the more necessary.

In Volume Two Popeye gets even ruddier, the phrase ‘rough neck’
Pops up on a rather regular basis as Popeye gets incredibly punch-
hungry. Popeye had not yet become so iconic to become sanitized for
children. In the full page colour Sunday strips- reprinted in lush, soft
washes- Popeye is often surrounded by children who try to break him
out of jail. Volume Two's Sundays are a real treat and they bring the
introduction of Wimpy! Starting as a nameless boxing referee for the
numerous fights that Popeye wins against impossibly large men (and
even a gorilla), we see Wimpy’s character quickly evolve into that of
his quintessential focused mooch-dom.

These hardcover books with cut out word balloon titles- they are
literally cut out of the hard bound cover- were designed by Jacob
Covey at Fantagraphics utilizing computer technology to render the
strips themselves in crisp glory. As a planned six volume set these
Popeye books should always be in print due to being such an integral
part of comics history. Mandatory! Before this, one had to desperately
seek out Fantagraphics’ previous reprintings from the early 90’s, those
hard to find unassuming volumes -even in soft cover- were less
economical and not as advanced in design and lay out. So far both
volumes of this current set are a steal at approximately thirty dollars
each, an investment of joy.

A few years back when I was seeking those earlier inferior collections,
my travels led me to Olympia, Wa- known also by its’ other name as
Indie Rock Hell- where there exists a great comic shop called The
Danger Room. The two proprietors would often argue about which was
the greatest newspaper strip of all time: Thimble Theatre or George
Herriman’s Krazy Kat, both are on their Top Two lists anyways so it is
a microscopic yet enjoyable argument. If you want to add fuel to that
debating fire there are some wonderful reprints of Krazy Kat also
available. I still pledge allegiance to Thimble Theatre. If one is curious
about the pre-Popeye days, issue 271 of the Comics Journal reprints a
terrific fifty page Thimble Theatre adventure.

POWR MASTRS 1 (Picture Box Inc)

What is it? Is it a European textbook? Its soft cover is so sleek and
smooth, so foreign, it is the colour orange and orange always conjures
up something European. The title is stylized and almost incoherent.
POWR MASTRS. Hm. That'd be the title. Guess they don’t like the
letter E. What else does it say? $18. That’d be the price. 1 with a circle
around it. That’d be the issue number. There’s gonna be more. CF.
That'd be the artist. Without even opening it up it becomes obvious that
this POWR MASTRS is intentionally arcane and cryptic. Besides being
cryptic there is no indication on the cover of what the insides contain. It
certainly makes this 120 page comic that much more intriguing. That
sense of intrigue never gets lost upon reading and POWR MASTRS
never reads as a cloyingly impossible-to-breach inside joke, there are
entrance points. This adventure exists outside of genre yet affects the
odd trope for its own ends, hallucinatory with its own interior logic. CF
creates a world unconcerned with continuity, more concerned with the
exploratory. The first few pages offers up a map along with the names
and faces of the loosely connected characters of this region who drift in
and out of the story. This is a land where different elements such as
laughing gas are bartered in trade for ‘meat’ (ie. dead patrol cats). Here
the deep woods is a dangerous place. And the dead get transmutated
into robots. And tingling jellyfish sex occurs.

The drawing style appears to be the end result of the Grade Six student
who over eagerly used a ruler in his drawings. That description is not
intended as a slight upon the artist. The line work is fine with little
differentation in width, there is no cross hatching detail, and very few
solid blacks. The art is not off putting at all, it is an end result: the work
is fully formed and CF’s refining and honing of those few techniques
down to the bone goes hand in hand with the otherworldly nature of the
story. POWR MASTRS is a rather hypnotic piece of work.

Robert Remembers... MICHAEL GRIFFEN: Michael
Griffen passed away on January 7" of 2008. I had seen him play many
times as one half of the noise duo Noggin which he formed with Eric

something unassuming, a kind of adult contemporary for young hipster
adults, even influencing other acts, more white breeder music. Maybe
that’s why I am so constantly disappointed and feel so thwarted by the
people who make and listen to such music. I thought that they were
capable of something more intriguing and compelling. Isn’t a large part
of music the ability to communicate, to engage? A large part of what I
look. for in music is a window into another world, another set of
experiences.

Camp? I'll admit an affinity for such things, I’ve often enjoyed Eartha
Kitt’s / Love Men album produced by Village People Svengali Jacques
Morali. Yet a sense of humour is not a key motivating factor in my
relentless pursuit of listening pleasures. In fact, if the source of the
humour is unintentional, I often find it discomforting (see: kitsch).
Which brings us to our featured release, number one in a series: is this a
put on? Is this a joke? But before I elaborate with details I should
impose my raison d’etre for this column: neglected Canadian music of
personal vision, appropriately mostly Vancouver, mostly records. On
with it! (clears throat).

And to what pleasure do we owe this 25 treasure found, all seven
inches of it, in a Powell Street furniture store, hmm? Its aquamarine
logo relays label name Psi Records, a trident jutting out betwixt the two
words. The label address is 1747 W. 3rd Ave., Vancouver, B.C. I call
the phone number, 732-3761, somebody answers with no knowledge of
this record, catalog number 101. Year unknown. The group was the
Outraged Husbands. The song "Zeus Creation" is the sound of a group
of men boisterously chanting along with marching band style
orchestration, "We are the men of the nation, we like the ladies in their
place, so we say down with the women's liberation & up with Zeus
Creation! We like the girls who wear bikinis, cool chicks are never ever
cold..."

What follows next is an endless litany of household chore commands
and how, after all that, a woman must “look like a doll" when outraged
husbands return home. The song signs off with, "Men! Wonderful men!
Sensational men!" And applause. It all clocks in at one minute and 54
seconds. The Outraged Husbands said what they wanted to say, and
were succinct about it, only adding to the mystery. Flip the record over
and it's the exact same thing: you might wear one side out being always
in the mood for skewed boisterism. Was this song a tongue-in-cheek
response to Women's Lib or was it a satire on the misogynist response
to Women's Lib? This record seems too out and out ridiculous to be
made as a fear-based reaction to equality. They don’t sound threatened.
Still, who or what was this mysterious Zeus Creation? One even rarer
one-sided version of this single credits an Omnipotent Jones added with
“..and Ruler Bob” -obvious pseudonyms that makes this quest seem
more elusive. Who made this record?

If you know anything about this
me:moustachedpainless@ yahoo.com

inform

please

sit OUTRAGED HUSSANOS
neo ss

“yy oan tO aS
28. Yarcoerec

Lost and Found Can Con Column two: Transeuphonic Onions in the
Tiki Room

“But Vancouver needs you-u-u-u!”

Barely under my breath, I replied, “It sure has a funny way of showing
it

To a lesser degree the same goes for all of Canada. When given the
opportunity I will leave; it could be the only way to build a name for
myself. This mindset might make my writing this column seem
hypocritical, but there are things I do love about Canada. One day I'll
name them for you. On this topic of escape, today we focus on an item
that allows the outside world to seep into Canada.

One can be a tourist and not have to travel far for their experiences.
Through exclusive arrangement with Air New Zealand. Hei Tiki
Records of Vancouver presents The Maoriora Maori Jet Set (HT 1063).
The Maoriora Maoris makes their culture safe for you, the close-to-
home tourista! And with this document, you don’t even have to venture
outside of your home to catch their show!

Did Hei Tiki release anything else? I know not. This particular album
was found in an unnamed dollar bin. I have turned up nothing in my
research but look forward to one day hearing releases HT 0001 through
HT 1062, and more. Hei Tiki.

Vancouver had quite a Tiki culture; there was a Trader Vic’s up until
about 10 years ago, the Waldorf has preserved its large amount of
historic paintings by “the father of Black Velvet painting” Edgar
Leeteg, and the bar still occasionally open up its three Polynesian
rooms to serve watered down pricey drinks. Vancouver was quite a
happening city. There is still no finer port for Culture Bleed with
today’s worm turned towards bland homogenization.

The cover of this record shows the group in traditional robes and face
paint mixed with supper club attire against a hewn psychedelic back
drop. That captures it. The liner notes are rather absurdly apt, “Dig the
vibrations, eh? Okay let’s take a TRIP, a dramatic halucinatory (sic)
TRIP through a time tunnel into the past world of Polynesia, a world
embracing today’s hopes and great expectations... Join the Mauriora
Maori Jet set in MINDBENDING the younger generation through the
music media of the TRANSEUPHONIC ONIONS who accompany us
on this album.”

A seemingly disparate hodge-podge of styles holds and congeals
smoothly through its intentional side one and two disparity (it would
never work on non flipping formats such as compact disc). Side two,
though not our focus, shall be noted. Recorded “Live from the Down
Under Club, Vancouver” (Rolf Harris did a live album here as well),
this side is comprised of traditional Maori numbers mostly sung in high
level Glee Club harmonizing with Westernized guitar accompaniment
tethering it to the ground. Almost, if not all of the group is of Maori
lineage. The Maori people originally came from Polynesia to become
the first settlers of New Zealand. The word Hei Tiki means a carved
pendant of a fetus form that is believed to have the powers of fertility.
Side One has the immediacy of small pressed records, an intimate
connection, yet it opens on a grandiose sweeping scale of the almighty
vocal “Ahhhhhhahhhhh” with strings set against a folk rock
arrangement, Beatlesy bass, organ. A winsome female vocal comes in
singing with a kind of longing about “A Million Stars” a grand
schemata where, after they fall away, love will prevail. A strike from a
fuzzed out guitar opens track two; yeh-yeh soft psych elements have
crept in to add to the group vocal arrangements. The ear pleasingly
boisterous “Spirit Everliving” tells of the spirits residing in things and
the most important spirit of all: love.

There is no album like this. Exotica music was like a deceptively
square precursor to psych connected through post-war affluent malaise.
Psych and exotica connect here, even on the anti-Flower People
number “What do the Flowers Think”, a treatise on how the Flower
People are selfish by being grubby and picking the flowers without ever
once thinking of the flower's feelings! One would think that such a
message would cause a bad vibe bump in the album, but it's delivered
with a good-natured ribbing.

These songs are a unique permutation of sunshine soft pop, a sub-genre
that can sound fairly innocuously pleasant at first to subversively let all
manner of wild elements creep in. Almost all of the numbers on side

The (Original) Alice Cooper (Band) + The (1967) Mothers (Of Invention) x
SMiLE — “Mayberry RFD” = THE ANT-BEE

The (Original) Animals + The (1966) Paul Revere and the Raiders + The
Pretty Things + The Nashville Teens x Ellas McDaniel
= THE DOUGHBOYS (N.J.)

The (Original) Animals — Newcastle (Brown) + Hilton Valentine x many
Girls Named Sandoz = ERIC BURDON AND THE (NEW) ANIMALS

Eric Burdon and the (New) Animals — Sandoz + the vision of Rassan =
ERIC BURDON AND WAR

Rahsaan Roland Kirk + Gerald (Little Milton) Bostock x “The New Horse-
Hoeing Husbandry” — The James Bond Blues Band = JETHRO TULL

American International Pictures — Paul Anka + Gidget + Connie Francis
x Mr. Walt Disney = ANNETTE FUNICELLO

The Steve Miller Band + Mel Tillis - BurtonCummings — Lenny Breau
= BACHMAN TURNER OVERDRIVE

The Beatles at the Hollywood Bowl + Roy Wood x Huntz Hall
= “CHEAP TRICK AT BUDOKAN”

The Kingston Trio + Brian Wilson + Skip + Flip x “Eraserhead”
= LINDSEY BUCKINGHAM

Roger McGuinn ys. Gram Parsons = “SWEETHEART OF THE RODEO”
Jandek = JANDEK

The Nice + Lothar and the Hand People x The Crazy World of Arthur
Brown + The Classics For Beginners = EMERSON, LAKE + PALMER

Cream + Grand Funk Railroad x 5000 calories per day
= LESLIE WEST the MOUNTAIN

Jim Kweskin Jug Band x Tommy Hall + Sun Records + Willy and the
Poor Boys x Dave Clark Five = MUNGO JERRY

Johnny Cash + John Fogerty x Buck Owens — The Dils = RANK
AND FILE

The Langley Schools Music Project + Col. Knowledge and the Lickity-Splits
x TheHoneycombs + The Lolas = CASPER & THE COOKIES

Jay & the Americans x Jesse & the Rippers + Fred MacMurray — the
heart of rock ‘n’ roll = HUEY LEWIS & THE NEWS

Meet The Beatles + The Beatles’ Second Album + Songs, Pictures and Stories of the

Fabulous Beatles — The Beatles = “GET THE KNACK”
Abbey Road — George Martin -John Lennon + Mal Evans = BADFINGER

Sgt. Pepper's Lonely Hearts Club Band— George Martin - George Harrison —
John Lennon (x 3 !!!)+ Ginger Baker’s Air Force = “BAND ON THE RUN”

Sgt. Pepper's Lonely Hearts Club Band + Nicky Hopkins x “Alice In
Wonderland” + Aleister Crowley
= “THEIR SATANIC MAJESTIES REQUEST”

Sgt. Pepper's Pepper's Lonely Hearts Club Band — George Martin — Paul
McCartney x Brian Jones + The Brian Jonestown Massacre = “THEIR
SATANIC MAJESTIES (SECOND) REQUEST”

Sgt. Pepper's Lonely Hearts Club Band - Peter Blake = “WE’RE ONLY IN
IT FOR THE MONEY”

Sgt. Pepper's Lonely Hearts Club Band + The U.S. Teens featuring Raoul +
The Atomic Enchilada + Quad City Ramblers + The L.A. Bust ’66 + The
Fabulous Dawgs + The Crossfires(!!}) + Nature's Children + The Bigg
Brothers + Fats Mallard and the Bluegrass Fireball + Chief
Kamanawanalea and his Royal Macadamia Nuts (aka Howie, Mark, Johny, Jim
and Al) = “THE TURTLES PRESENT THE BATTLE OF THE BANDS”

Paul McCartney &/or Brian Wilson + EltonJohn &/or Billy Joel x
Who's Next = RASPBERRIES

Yoko Ono + “Happy Homemakers’ Magazine” — Dr. Winston O’Boogie x
Jack Douglas - Cheap Trick = “DOUBLE FANTASY”

Dr. Winston O’Boogie M.D. + Prof. Schmilsson M.E. x Brandy Alexanders
x D(rug)S = “PUSSY CATS”

Ray-Ban x Mary Quant + Viacom - Jules Shear + Beach Boys
Party! — Bob Dylan and the Hawks, “Royal Albert Hall,” 1966 (set two) =
“BOB DYLAN MTV UNPLUGGED”

The Freewheelin’ Bob Dylan + “The Hunting of the Snark” x Maharishi
Mahesh Yogi (RIP) + The New Vaudeville Band = DONOVAN

Stories + Eric Carmen + Shane Faubert + Hackamore Brick — Harry
Lookofsky — Yvonne Vitale = THE BECKIES

The Cramps x Flat Duo Jets + Link Wray + Shadowy Men On A
Shadowy Planet x poutine = DEJA VOODOO ( not Jack White ! )

Happy Jack + Dear Eloise ~ DearGod x Gerry and Sylvia Anderson
= THE DUKES OF STRATOSPHEAR

Bonzo Dog (Doo Dah) Band + Caesar et sesRomains x D,.O.A. +
Dishrags + Deverons, not to mention Nardwuar (The Human Serviette) =
THE EVAPORATORS

Snuff Garrett + The Shindogs + “The King Of Comedy” = GARY
LEWIS & THE PLAYBOYS

Freddie Steady Kre + Bill Lloyd x Gary Lewis & the Playboys + Susie
Cowsill = JENNY WOLFE & THE PACK

Mose Allison + Eddie Cochran x Augustus Owsley Stanley III + O2 +
cottage cheese = BLUE CHEER

Sam + Dave + Paul Shaffer + Lorne Michaels x speedballs
= THE BLUES BROTHERS

R. BANNISTER

The actor, Roy Scheider has died at the the age of 75.

Roy was best known for his sea-going vigilance in the sharksploitation
series

Jaws (1975). He is also noted for his Oscar-nominated performances in
the French Connection(1971) and All that Jazz(1979) .

While, Roy wasn't blessed with "leading man" looks, he more than
made up for with

brilliant character study, and a universal love of his fans. Roy, will be
sorely missed by millions of people around the world, who knew he
would always spare the time to stop and chat with an adoring well-
wisher.

'Tis a sad day.

Sad, not because the beaches of Martha's Vineyard, nee Amity, will
cease to be protected from the Great White menace.

Nor is it sad that Blue Thunder, will lay dormant in a police hangar
somewhere for eternity. 'Tis a sad day knowing,

when your time comes, friend, don't expect to meet up with Roy at the
Pearly Gates;or be golfing on cloud nine with his friendly and
personable soul. You won't be sturgeon trawling off the coast of Maine,
or having long heart-to-hearts with Mr. Scheider, either,

You will never have a chance to see, the actor Roy Scheider, in person,
ever again...

because when you die, you go in the ground.

ROBERT DAYTON

Lost and Found Can Con Column one: Men Wonderful Men

“So what have you been listening to lately?”

An easy question when one is constantly excited by the curiosities that
spring up from across the decades of records. I'd just gotten turned on
to the innovative psych-tinged French Canadian album Quebec Love by
Robert Charlebois. It was blowing my mind and I needed to tell
everyone about this adventurous record. As soon as I told him about it
he responded with: “Oh, so you listen to music for camp then?”

Sigh. At least he didn’t say ‘kitsch’ (I heard that one plenty enough,
don’t test me, you pricks), a word I deplore for its separation of subject
and object, an elitist P.O.V. state where one engages by being above it
all, by laughing at the object. Camp is much more inside than kitsch,
the joke is usually shared, but my goodness, what a flip pigeonhole to
be oh so carelessly lobbed in my direction. Anyone who knows me
knows that I do hate to be pigeonholed, I idealistically feel that we are
all too complex for that. Could I be guilty of doing the same?

This fella had only moments earlier favourably talked to me of
Magnolia Electric Company, a band that- to me- takes such music as
Crazy Horse and CCR and does its best to interlekchuleyez it, thus
draining it of its sap (is it so hard to have both mind and libido? While
you’re at it, throw some heart and soul in there as well) twisting it into

Glam rock posters mixed in amongst thousands of movie star posters. I
would spend 3 hours in there looking through each and every poster,
while Elliot said he was going to the Discomat record store. Years later,
he told me that he really went to 53" & 3" to tun tricks. My mom
thought I was 'safe' in the city going with a ‘guy’ to protect me!!! We'd
also walk along 8th Avenue lined with hundreds of peep shows,
hookers and pimps in alcoves who whistled at me. The 10-block stretch
of 8"" Avenue from Times Square up was known as the ‘Minnesota
Strip’ because teenage prostitutes flocked there by the busload when
Minnesota toughened up its’ prostitution laws. There were some porno
book stores there - with pathetic fat old cigar-smoking men sitting
amongst stacks and file cabinets of dusty old glamourous photos of 20s,
30s, 40s 50s movie stars. One of them had old issues of Circus
Magazine (1973) with Ziggy Stardust or Mott The Hoople on the cover.
I'd go there to search for the magazines. I would have paid $100 for this
one Ziggy magazine and when I asked the guy how much, he said 25
cents! I quickly handed him the quarter and got the hell out of there
before he would realize that he'd just sold me the damned holy grail!!!
He could care less! Elliot and I would later walk around Christopher
Street - a whole different scene, and eat at Taco Rico, watching the gay
couples walk by in leather. I loved the drag queens and trannies - they
were so committed to the art of being themselves! One walked in
dressed in a nurse’s uniform with blood all over, dragging a headless
doll. We hadn't realized it was Halloween because people looked so
weird and fabulous there every night! I remember being in a NY taxi in
1975 with my mom who had escorted me to a concert in the city. Some
women walked in front of the cab, and mom said, "Look at those girls -
they're dressed like hookers!" Hey ma - they ARE hookers!! Those
were the days! Now there's a sign near Times Square for the Waterfront
Crab House. It says, "The only place in the city that still has crabs!"

GARY PIG GOLD

Prof. GARY PIG GOLD’s ROCK ‘n’ ROLL_ EQUATIONS
Rubber Soul + Reddi Wip x Phil Spector + LSD 25 = “PET SOUNDS

The Lettermen + Curt Boettcher — Harpers Bizarre — Pet Sounds =
THE ASSOCIATION

The New York Dolls x Chris Thomas + P.T. Banu =THE SEX PISTOLS

The Village People + Dave Dee, Dozy, Beaky, Mick + Tich + Roxy Music x

Malcolm McLaren = ADAM & THE ANTS

Anthony Newley + The Legendary Stardust Cowboy + Syd Barrett x Henna rinst

= DAVID BOWIE

December's Children x Allman Brothers Band at Fillmore East + Paul
Verlaine + Horses = TELEVISION

Eddie Cochran x Dave Edmunds + Sha Na Na + Fonzie = THE STRAY CATS

Howlin’ Wolf + Harry Partch x Frank Zappa x Heliocentric Worlds of
Sun Ra, Volume One = “TROUT MASK REPLICA”

Sun Ra + Don Van Vliet x Roky Erickson + Ken Kesey =CRAWLSPACE
Kraftwerk + David Byrne + The Tubes — The Residents = DEVO

The Shangri-La’s + Kim Fowley + Slade x Kim Fowley + Ramones
+ Kim Fowley = THE RUNAWAYS

Tammy Wynette + Sissy Spacek x Cherie Currie + Kathy Griffin
= TAMMY FAYE STARLITE

Led Zeppelin+ Kate Bush x Froot Loops — Eric Rosse = TORI AMOS

“My Generation” + Carnaby Street x Radio Caroline + Meher Baba =
“THE WHO SELL OUT”

The Beatles — Paul McCartney x “The Primal Scream” + Phil Spector
= “JOHN LENNON / PLASTIC ONO BAND”

The Beatles — Paul McCartney x “The Bhagavad Gita” + Al Aronowitz
= “ALL THINGS MUST PASS”

The Beatles - John Lennon + Linda McCartney x THC + Marvel
Comics = WINGS

Simon & Garfunkel - ArtGarfunkel x Graceland + Tito Puente +
Dion & the Belmonts = SONGS FROM “THE CAPEMAN”

Phil + DonEverly + “Like a Rolling Stone” + Bert Jansch + Martin
Carthy + Mike Nichols + Los Incas — recognition — residuals

= SIMON (+ GARFUNKEL )

Phil + Don Everly x The Searchers + Buddy Holly x Bobby Fuller =
THE SPRAGUE BROTHERS

Buddy Holly + Roget’s Thesaurus — Bob Dylan x Nick Lowe
= “MY AIM IS TRUE”

Buddy Holly + Todd Rundgren + Declan MacManus
= MARSHALL CRENSHAW

Runt: The Ballad of Todd Rundgren vs. Noel Coward’s Ghost = TAN
SLEEVE

“The Continuing Saga of Dr, Iguana” ys. Orion’s ghost = UNKNOWN
HINSON

Laurence Harvey + Joe Meek x Simon Napier-Bell + Phil Spector
= ANDREW LOOG OLDHAM

Ronnie Spector + The Attractions x Miss Pamela x It’s My Party! (the
band) + Mark Lindsay = CANDYPANTS

Elvis Presley + Gordon Waller + Mark Lindsay = P.J. PROBY

Elvis Presley — Elvis Presley + Bing Crosby x American Idol
= BILLY IDOL

Salt + Pepa + Courtney Love x The Muffs x King Ad-Rock
= THE YEASTIE GIRLS

King Ad-Rock + The Chesterfield Kings + Ramones Leave Home —
Ramones + braindrain + the roadtoruin = DEE DEE KING

The Silver Beatles + Best of the Beach Boys x Tod Browning = “RAMONES”

Peter Noone + Ronnie Spector x Bay City Rollers + Carbona (not glue)
+ The Beach Boys Today (viny| side one) = “RAMONES LEAVE HOME”

Shaun + David Cassidy + Dwight Twilley Band x PhilSpector + The
Beach Boys Today (vinyl side two) = THE PALEY BROTHERS

Jad Fair + Porter Wagoner + Robert Goulet + Charlie Mingus x Bob
Moore = R. STEVIE MOORE

Steven Wright + Pat Paulsen x Zip Code Rapists = NEIL HAMBURGER

Don Rickles + the Ayatollah Khomeini x Lifehouse + Franz Kafka
= “JOE'S GARAGE”

John Lydon + DonRickles x Mud + The Sensational Alex Harvey
= MICKEY DeSADIST and his FORGOTTEN REBELS

Armand Schaubroeck -— David Peel + NaziDog + Ken Shabby
G.G. ALLIN

Jimi Hendrix + Sly Stone x Magical Mystery Tour + Kasenetz + Katz
= “AROUND THE WORLD IN A DAY”

Magical Mystery Tour x Monkees + Frankie Howerd — Maurice Gibb =
“CUCUMBER CASTLE”

Lou Reed + Mister Rogers = JONATHAN RICHMAN & THE
MODERN LOVERS

George Orwell + Nicky Hopkins — Pete Quaife = “THE KINKS ARE
THE VILLAGE GREEN PRESERVATION SOCIETY”

Bob Kane + William Dozier x Laurel + Hardy x James Joyce
= “JAN & DEAN MEET BATMAN”
William Blake + The Godz + “The East Village Other” = THE FUGS

The Fugs + Mary Travers x Andy Warhol — Bob Dylan
= “THE VELVET UNDERGROUND AND NICO”

The Velvet Underground — John Cale + John Cage x Brian Eno
= “METAL MACHINE MUSIC”

Metal Machine Music x Live Rust + “Weasels Ripped My Flesh” x
Psychocandy + Daydream Nation x Plastic Ono Band: Live Peace in
Toronto (side two) + Bob Dylan and the Hawks, “Royal Albert Hall,” 1966
(settwo) = “ARC/WELD”

Bob Dylan and the Hawks + Grant Wood — Ronnie Hawkins — that thin, wild
mercury sound = “MUSIC FROM BIG PINK”

Ronald Reagan + Calvin Klein — BobDylan x MTV x Jann Wenner &/ or
Jon Landau = “BORN IN THE U.S.A.”

The Mamas & Papas — John Phillips + The Honeys x “Cosmopolitan”
= WILSON PHILLIPS

Teen Titans + The Beat Alls x Jellyfish — Pink Lady= PUFFY (Ami Yumi)

CBGB -ONE MORE TIME! On April 17, 2008 we stood outside
under the new black 315 Bowery awning as ropes were put up, and
limos pulled up. I don’t know where these people thought they were,
but I was at CBGB! The former CBGB gallery next door (now
Morrison Hotel Gallery) exhibits a huge poster in its window
announcing Bob Gruen’s exhibit Rockers, featuring Sid Vicious
smashing a condiment-loaded hot dog into his own face, sporting a
badge that says, “I’m A Mess”. A guy approaches me asking,
“Where’s the Bowery Hotel?” and I recognize him —former T. Rex/Led
Zep publicist, B.P. Fallon. Elements of heaven and hell and surrealism
permeated the evening. Up walked the cowboy from The Village
People. The only logical explanation is that he probably has
Alzheimer’s and wandered into the most inappropriate place for him on
earth! DGeneration are magnificently sound-checking
inside while way too many security staffers are strategizing the guest
lis/wrist band coordination. When I roll my eyes, someone asks,
“Wasn’t it ever like this before?” I reply, "There hardly was a door —
people just stumbled in and out of the cavernous hole all night long.”
Tonight, we enter and there’s an eerily empty space to the right where
dear old gray-haired owner Hilly used to sit and stamp hands. But the
place is pretty much intact. It feels the same. It even looks the same, but
a bit cleaner. All the graffiti and historic crap stuck to the walls has
been preserved under glass, with lots of cool rock posters and framed
photos everywhere. Alice Cooper, T. Rex, the Jam and Iggy Pop music
is playing. It feels like the line in Bowie’s song “Heroes”, “We can
steal time, just for one day.” A new bar is placed right where the old
one used to be, and as we enter deeper and see the stage, it’s just like
old times - except the infamous bathrooms are gone. (There were Port-
O-Pottys set up outside). The new tenant, designer John Varvatos
has retained the spirit of the old place. It could've become a Starbucks
or a bank, but here we are — at CBGB again! A huge chandelier hangs
overhead with a thousand tiny lights, each one representing another in
our galaxy of dearly departed star veterans. It's an opening
bash for the Varvatos boutique (not a garment in sight) and a benefit for
VHI's Save The Music. The cavalcade of stars begins. First up is a
group of kids under age 12 — maybe even 9 — Care Bears on Fire. If I
didn’t feel old when I walked in, I sure did now. Next was another
group of teen boys, Pop Girls etc.. They were the pimply cretins of the
class whom all the girls ridiculed, dressed in pointy boots and too-tight
jackets. They had no idea how ridiculous they looked!
Up next was the DGeneration reunion — the first in 10 years. My god
did they rock! Incredible memories of how great they were. “No Way
Out”, “Frankie” and “Degenerated” floored everyone! Bassist Howie
Pyro flew in from L.A. I reminded guitarist Danny Sage that he once
told me I’d see them at Madison Square Garden, and I did — when they
opened for K/SS in 1996. He yelled down to me from the stage at MSG,
“T told you!!!" Now he said, “Look where it got us, right back here!” A
wild blast from the past. I guess Debbie Harry had better things
to do that night, so Clem Burke backed up the Losers Lounge with
some singers who did T. Rex, Blondie and Bowie songs. Then came
the redemption of Ronnie Spector! She looked incredible and sang her
gorgeous rendition of Johnny Thunders’ “You Can’t Put Your Arms
Around A Memory”. She wiped away tears and said, “This place
started it all — so many faces are running through my mind like - Joey

Ramone...” At least SHE remembered! Then she sang the most
beautiful “Be My Baby” knocking down the confining wall of
sound...just her pure “Woah oh oh oh oh.” It was heavenly. I’ve
always admired her - a true pop diva from another era who stepped
down from her throne to appreciate and befriend the underground
creatures of CBGB. Without hesitation, they announced Ian
Hunter. I wasn’t ready for another of my most precious heroes so
suddenly, but out he came amidst the loudest cheers of the evening for
“Once Bitten Twice Shy”, “Central Park N’ West”, “Roll Away The
Stone” and “All The Young Dudes.” Alan Vega from Suicide,
still ever so insane did a mystifying version of ? And The Mysterians’
“96 Tears” - at once classic and ridiculous. Joan Jett, looking amazing,
did “Bad Reputation”. The Dead Boys’ Cheetah Chrome came out for
“Sonic Reducer” and the Stooges’ “I Wanna Be Your Dog”. The
Dictators’ Handsome Dick Manitoba, MC5’s Wayne Cramer and others
jammed on “Kick Out The Jams”. Then came Slash and Perry Farrell,
and later members of Cypress Hill. The evening became confusing as it
derailed and degenerated from DGeneration to this. But at least we
know that a stage still can be pulled out at any time, and anything can
happen in this preserved historic place where we all grew up.

NEW YORK CITY 1977 - Can you believe that 1977 was thirty years
ago?! I watched a great documentary on VHI called NY 77 The Coolest
Year In Hell, about the summer of '77. Wow - it's amazing to see it all
now in perspective. Elliot and I were just two spoiled 19 year olds who
laughed about everything back then from our safe houses in the
suburbs, and we thought New York City was the greatest thing. But
seeing the footage and commentary about the extent of the decadence,
depravity and danger was really incredible. The aftermath of the big
blackout in July with the looting and riots looked like scenes from Iraq!
Burning buildings, trash everywhere, gunshots and people
scattering...total chaos! Elliot realized it more than I did. I was just so
naive. Son of Sam was on the loose. We thought it was all a big joke,
but we loved going to the city; me for Max’s and CBGB, and him for
discos and turning tricks. There were great stories about CBGB, and the
most interesting story about the city (surprisingly) was some rappers
talking about the origins of scratching and hip-hop. I always wondered
how they had those sound battles with turntables in the parks - like
where did they get the electricity for it? He explained that they
dismantled the bottom of street lamps, hooked up the electrical wires to
several extension cords, snaking their way all the way into the park!
Then the most cred was given to the guys with the LOUDEST sound -
and they battled, scratching with Queen's song 'We Will Rock You' and
blew each other out of the park. Then, the night of the blackout, all the
poor ghetto kids who had their eye on the finest amps, speakers, and
turntables in the electronics stores, looted and stole all the equipment
they'd ever dreamed of having - and that was the night hip-hop was
born! Then the sonic battles became BIGGER & LOUDER. The
contraband high-end equipment was all really desirable, so each DJ had
to guard all his stuff with a posse of gunmen in the park. Sick stuff! I
remember Debbie Harry & Chris Stein telling us at CBGB one night
that we should come uptown to these wild clubs where it's like a party
and "people just talk in rhymes over the music - like stream of
consciousness." I felt like they knew what was cool and it was probably
legit, but I could also tell that it wouldn't be my scene (I was more of a
Punk), so we didn't go. I think it was Grandmaster Flash they were
going to see. The documenary also illustrated the graffiti artists' pride
in their achievements in leaving their mark on the trains. They would
steal spray-paint cans from the stores - pinning the sleeves of their
denim jackets closed, putting 4 paint cans down each sleeve and
slinging their jackets over their shoulders. They'd descend into the
tunnels at night to paint in the dark, after practicing their drawings for
weeks in the dark for that purpose. They saw it all as works of art, but
the public saw it as garbage. I totally appreciate anyone who is so
committed to their art, no matter who or what it is. There were also
segments on discos like Studio 54, and Plato's retreat where orgies went
on every night. Elliot would always take me to Times Square, where
the most prominent letter on all the neon signs was ‘X’. There was a
huge poster store on some corner there, which had a few rare British

N WAVE
2 j A fal
Regarding the article on me, please change your incorrect information
about when I was born... You are so dead wrong! And I do believe that
when you asked I told you 'none of your business .'.. "Ageless"! I
simply lead a healthy life, and the more I get into nutrition, etc... | think
that I will live til at least 125... OKKKKK!

Thanks..
- La Donna Tittle ("AGELESS" til I'm ready..OKKKK!)

(a should printed it last year 2007 Ponderosa Stomp letter): | spent the
four days between the big Jazz Festival weekends in New Orleans last
week, and had a week of music (and food) i'll never forget. I didn't
attend the Jazz Fest itself this year, but that week in between (does it
have a name?) is something else. You can go anywhere at any time of
day or night and see amazing musicians at work. On monday, I hit
Tipitina's annual "Instruments A Comin’ " benefit for local school
music programs. It was a non-stop all night affair with the Crescent
City's finest all playing 30 to 45 minute sets. Galactic, Rebirth Brass
Band, Dirty Dozen Brass Band, Trombone Shorty (fantastic set!), New
Orleans Social Club and many more took the stage. Memorable
moments included Marcia Ball playing Randy Newman's "Louisiana
1927" while Fats Domino (!) looked on from the balcony, and Jon
Cleary & The Absolute Monster Gentlemen playing a set, and being
joined at the end by Bonnie Raitt for about four songs, including a
cover of "All Right Now" by Free. Walter "Wolfman" Washington
finished things up just after 3 am. Wednesday night was the Mystic
Knights Of The Mau Mau's 6th annual Ponderosa Stomp at the House
Of Blues, almost ten hours of music on 3 stages. In all due respect to
the wonderful Jazz Fest, the Stomp is the show of the year! This was
my fourth, and I hope to never miss another one! I can't even get my
head around all the highlights, but here's some of what I saw and
heard:Ralph "Soul" Jackson doing a storming soul version of Cream's
"Sunshine Of Your Love" with Alex Chilton guesting on guitar; the
beautiful Barbara Lynn; the completely wild and unhinged Roy Head
doing the Gator during "Treat Her Right"; Little Jimmy Scott with a
sublime “Pennies From Heaven" and a heartbreaking "Motherless
Child"; 2 sets by Dan Penn & Bobby Emmons that left me slack-jawed
at the depth of Penn's talent and songbook; a wild set by Dale Hawkins
that saw him rocking as good as ever after a bout with cancer last year
(great backing by Deke Dickerson & The Eccophonics); a brilliant full-
scale New Orleans R & B Revue led by Wardell Quezergue leading the
band (which featured Fat's sax man Herb Hardesty and a guest
appearance by Allen Toussaint) and vocalists like Robert Parker
("Barefootin'"!!!), Jean "Mr. Big Stuff" Knight, plus a star turn by Dave
Bartholomew who did a medley of the songs he wrote for Fats, and his
own songs like "Who Drank My Beer While I Was In The Rear" and
the immortal "The Monkey (Speaks His Mind". Mere words don't do it
justice; a triumphant witching hour performance by Roky Erickson &
The Explosives ("Don't Shake Me Lucifer" rocks like a lost CCR hit!);
a joyous rendition of "Carnival Time" by Al "Carnival Time" Johnson
that nobody wanted to end; and a great late set by Sir Douglas Quintet
member & Texas Tornado Augie Meyers (a very funny and
entertaining guy) that wrapped up with SDQ's "She's About A Mover".
I stayed until they started folding up the chairs, but I never once sat
down the whole time. There's actually a lot i'm leaving out (lucky you).
What a night. What did I do on tuesday and thursday, you ask? Okay,
so nobody asked, but here goes: I walked, I ate, I sightsaw, and I
enjoyed, yes, even more music with free shows at the great Louisiana
Music Factory (Little Freddie King, Dirty Dozen Brass Band, Jay
Chevalier, Kermit Ruffins, a breathtaking and sweaty set by Theresa
Anderson and more), Erie Vincent & The Top Notes and Eddie

Kirkland at the Circle Bar, Willie Tee with an all-star band and
Charmaine Neville in Lafayette Park, a swamp-pop summit under a
beautiful yellow moon on a perfect night in Jackson Square with Little
Band O' Gold backing Lazy Lester, Tommy McClain and others,
including once again the irrepressable Roy Head (Roy commenting on
the accordian player's button box "Hey, I love that ‘stomach steinway'
!") who gave us a cajun-spiced take on "She's About A Mover", and I
pulled the plug on my little musical journey after a steamy set by
Dennis Coffey back at the Circle Bar, who did unspeakable things to
his guitar in front of a packed room. As if THAT wasn't enough
(somebody shut him up!) as I was leaving the Cafe Du Monde on
thursday afternoon, I met none other than Matt Groening, who was very
amiable and gracious and was carrying a leather bag with the
"Simpsons" logo on it! A half hour later, I saw him again up the street
pawing through CDs at a record store. It all seems hard to believe even
thinking about it now, but as Rudy Ray Moore says, "I Ain't Lyin'"!
This kind of time can't happen anywhere else in the world than where it
did. Get down to NOLA yourself sometime and see. I'll spare you my
full-length food report for now (available upon request), but let me just
say that I didn't get my vegetables and leave it at that. That's all I guess,
except for one more thing---I wanna tell you 'bout Ooh Poo Pah Doo!!

-SCOTT

...Mormon Rockers.
1.Osmonds.
2.Sky Saxon.
3. David Allan Coe
4. Arthur "Killer" Kane
5. BTO

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EEE EEE EE EE EO

through. Lenny liked to pose as a healing force. "I'm a
surgeon with a scalpel for false values," he says. Most of
the literature about him is by people who believed his
work was driven by benevolent intentions — a 'shaman',
as Goldman says, or a 'psychoanalyst', says Kenneth
Tynan. He's often depicted as a saint or messiah. But he
could save nobody, including himself; and now, we have
no messiah: not even Christ will bother. Because we're
unsaveable. We refused grace; now, we're — lost. Lionel
Trilling, the great literary critic, declined to testify in
the obscenity trial; as there were no grounds to defend
him; he was guilty. After his death, Trilling wrote that
Lenny "knew that the point of his performances, and
their power, lay in their being thought exactly obscene
and offensive, in their violation of all (including the
liberal) pieties." I think that over — violation of all. In
the ravaging conclusion, I was going to do Lenny's
"Snot" bit, the one that started with him saying he was
about to say "the dirtiest word you ever heard on stage,"
beginning with 's' and ending in 't', making everyone
think he was saying 'shit' — but snot is worse. As it goes
on, Lenny smears it everywhere, on suede ("you can't
get snot off a suede jacket"), on a piano where a female
pianist will soon put her hands. "Snot" had a weird &
lurid power in performance, lost in recordings. The
biography of Norman Mailer notes, "Bruce traversed
political and sexual ground and then moved onto the
subject of snot, which left the audience shaken and
silent." Snot is a raping, ravaging force, a dissolving acid
on a purposeless world. Lenny appears on the first
episode of Playboy Penthouse & goes to odd lengths to
blow his nose, saying he's never blown his nose before.
It's not funny & you wonder why he's saying it, but it's
like he's intent on some image of blockage, being
unblocked: the snot will begin to flow, and then it will
cover everything. "Lenny had a disgusting habit of
blowing his nose on the edge of a tablecloth when we
were dining somewhere swanky," Honey says. She'd
complain & he'd say, "Whattya got against snot,
Honey? I mean, if you get down to it, it's only a word."
Lenny was a deconstructionist, separating word from
what it describes, as all moral systems are unwinding, as
voids open up in our souls, an evil force spreads across
all creation, infecting, finally, the heart of language
itself from which all creation sprang, so God might even
say "Let it be" again & nothing would happen. It was
too much for me — I stopped.

It's funny how, onstage, everyone below you looks
small. They're like children, really, except their gestures
are all stiff & scripted. Once in a while there was
something interesting. One guy came up & laid trail of
dollars, then told me to pick them up with my mouth. I
kicked them to the floor & told him to get lost, which
enraged him. Lenny regularly taunted men in his
audiences with the accusation that they're all faggots.
"There's two kinds of people in the world—those that
do it and those that do it and don't admit it." The only
routines I thought about anymore were the faggot ones.

There's so many, the faggot Dracula, Lone Ranger, etc.
("Lenny was obsessed with faggots all of his life,"
Goldman says.) There's a really weird one, called "White
Collar Drunks," on one of Lenny's early LPs. A drunk
homosexual comes into a bar & requests a free drink
from the bartender. The request has the overtones of a
pick-up. The bartender says, "You're a real Milton Berle,
aren't you?" Lenny's work is typically understandable
only as a series of recurring references. Berle is, for him,
as an agent for making homosexuality public. (Because
of Berle, he writes in his memoir, "the pervert" has
turned into "a sometimes-fun fag.") So the faggot drunk
retorts, angrily, that he has "the most vicious dog in the
world" who'll kill the bartender. Another patron then
turns to the drunk & says, "I think you're a fruit. I think
your dog's a fruit too. Both of you are full of crap."
Other men then offer that they have dogs who are
tougher. So the first drunk goes & gets his dog — a "real
weird little dog" — who comes in and kills them all,
which amazes even his owner. "Jesus Christ, he is
tough." That last line is spoken in the voice of the
Superfag, which Goldman calls "Lenny's greatest vocal
caricature" — high pitched & loopy, amazed, clueless:
"his abstraction of the whole gay world." My
interpretation: The little dog is the faggot, a murderous
violence beneath the 'sometimes-fun', silly, loopy gay
guy. Slaughter those who belittle & refuse you. Lenny
often connects the homosexual with world-ending
violence. (A recurring bit: the 'button' that will touch off
nuclear war is located on the crotch of a boy scout. A
"fag scoutmaster" comes along to "blow up the world.")
I quit the strip club. Early in the evening, I just grabbed
my bag & left, as several girls near the entrance gave me
the eye. Driving home, my mind was in a whirl. I was
going to catalogue all the places Lenny calls himself a
Satanist. I was going to show how his use of obscenities
started with Honey. I felt I'd been prepared for some
large task, but then, it wasn't worth doing.

He hates everything! He hates life!" I hate it too. But
the surviving tapes seem like echoes, somehow. How
amazing it would be to sit there looking up at him: "He
was tall and handsome," says Harold Clurman in The
Nation, as "his swarthy skin looked as if it were drawn
tightly over a yellowish pallor." There's the outline of
an attractive man, cool & cosmopolitan, but then
something menacing & sick. "Lenny Bruce had a
treacherous glint under those heavy lids," Pauline Kael
says, "and his cool pimp's mask of indifference was
almost reptilian." His costume in performance is always
black: a snappy suit possibly, or near the end of his
career, when the cops were likely to grab him, a
crumpled black raincoat. But his most remembered look
is (c.f. the Saturday Evening Post) "a long black alpaca
coat that buttons high on the neck"; Kenneth Tynan
called it "a long black tunic sans lapel"; Lenny called it
his 'Chinese rabbi’ suit. The impression is formal, and
religious ("somberly clerical," says Clurman), but dark,
even occult ("satanic," says Goldman), like he was about
to perform some black magic. The shy, pale, goofy
Jewish dude he used to be (‘Leonard Schneider’)
disappears, as a sleek, dark, oriental figure (a "Persian
hipster prince" says Kael) took his place, set to perform
some black magic. In Partisan Review, Jonathan Miller
described a concert: "It was like a seance..." Dosages in
incredible quantities of meth, heroin, speed, are fading in
his system. The posthumous reputation he'd developed
throughout the late '60s, of 'prophet', 'saint', 'moralist’,
etc., were besieged by the details of a junkie that
Goldman reported in his book. Sally tried to prop it back
up: "Lenny was a user,” she told the press. "He took
drugs, but he always functioned." "He was a total fucking
junkie!!" Richard Shackleton says. And Lenny worked
when he was withdrawing. Even in recordings you feel a
man agitated & intensified, burning at a hotter level. I
was going to have the ideal Lenny crowd: all the famous
people who saw him or came under his spell. There's a
teenage Steven Spielberg, who liked Lenny's Nazi
routines, the echoes of which are surely in his films.
There's Stanley Kubrick, who liked Lenny & tried to get
him to collaborate on a comedy that later became Dr.
Strangelove. There's Ingmar Bergman, the great Swedish
director, who kept the transcripts of Lenny's routines on
his bookshelf & directed a play based on him in 1971.
"The expectancy in the nightclub is laced with anxiety,"
Nat Hentoff says. "How far will he go tonight?" I know
the answer. He'll go all the way. The stage clears, and
the guy who'll introduce Lenny appears. The joke was
how bad they always were, usually an effort by a club
owner or promoter to defuse the bomb about to go off.
In his memoir, Lenny quotes one club owner's nervous
intro: he (Lenny) is "a great kidder, know what I mean?
It's all a bunch of silliness up here and he doesn't mean
what he says." Later they'd present Lenny as some kind
of uplifting moral experience — / get it done right.
Jayne County cites Lenny as a major influence, and
notes critics’ descriptions as "the Lenny Bruce of rock
n' roll." I wrote asking for a few comments, envisioning

the outrageous transsexual rocker striding forward to the
mike — as the crowd goes wild!! "Yes, Lenny was a BIG
influence on me," Jayne replied. "I could never have
written songs like 'If You Don't Wanna Fuck Me Baby,
Baby Fuck Off or 'Fucked By the Devil' or 'Everyone's
An Asshole But Me! without some of Lenny's free spirit
form of individualism! LONG MAY HE REIGN!!!" I
tried to get Jayne to focus, a little bit, and talk about
what Lenny was about. "In my opinion," Jayne replies,
"the greatest artists are the ones that are the least
understood! I honestly feel that if everyone loves and
understands them then they must be pure shit!! It is easy
to shit if you have taken a laxative or have drank three
bottles of prune juice! It is those big, hard turds that
refuse to come flowing easily out of your asshole that

are the greatest artists!!!!" Feeling shaken somehow, I
wrote Camille Paglia, the famous literary critic, who
writes back!! — striding up to the mike!!! "Like William

Blake, Walt Whitman, or Allen Ginsberg," she begins,
"Bruce wanted to say the unspeakable." The crowd stirs
at this puzzling thought. "Bruce," Paglia says,
"revolutionized stand-up comedy by turning it from the
lightweight serial jokes and gags of vaudeville toward
scathing social commentary, embodied in a rambling,
improvisational form." I'm picking through her
comments. "His treatment of the audience was dual and
at times sadistic—he charmed and lured them, then
attacked them or undermined their sense of safety and
stability." There were so many interesting bits. Not even
the famous ones, like asking if there were niggers in the
audience (then explaining that the more we say ‘nigger’
the more it will have "lost its meaning"). I'd do the
really repellant ones, the ones nobody ever talks about.
A monologue he'd do by a Nazi attacking America,
suggesting our evil is equivalent to theirs, "sort of sums
up my point of view," Lenny says. "There's no right or
wrong," is a frequent refrain. "Wrong means...Lost." I'd
do his Christ bit, where Lenny as the enraged messiah on
the cross says, "I'm getting off here now, because I can
see that dying for you does no good. You don't
appreciate I'm dying for you. That's what I've done. I've
suffered my whole life for you" — and now, He's

popular press early on. Malcolm Muggeridge, the British
journalist, wrote in Esquire of seeing Lenny in the late
'S0s & thinking him "a queer—or at any rate bisexual."
It got worse: "He vamped the audience with a debauched,
deliberately faggy come-hither that no one quite knew
how to interpret," Pauline Kael says. I guess if you're
competing with women, you have to keep upping the
stakes, arming & armoring, and eventually, you're going
to lose. Though there was a final act of stripping: as he
laid, famously, naked & dead next to his toilet, as
dozens, or hundreds of cops & photographers milled
around. "He probably had shit all over the bathroom and
over himself," Richard Shackleton mused. "There was
probably shit everywhere." — as that which was pent up,
must finally release.

I flip THROUGH file after file of material I once found
interesting. I know of no assessment, other than passing
references, to Lenny's influence on the arts. I had notes.
His audiences were always full of writers, which is funny
since he's often described as ‘illiterate’ & never wrote
down any of his routines. Norman Mailer, according to
his wife Adele (the one he stabbed), was "greatly
influenced" by Lenny Bruce, and developed great hopes
of honing his own enormous comic presence, though he
had no talent. Yet Mailer's 'New Journalism’ would come
just after: | wonder how much his new persona as roving
commentator owes to Lenny. Then, Philip Roth:
uninspiring novelist until, in 1969, he came out with
Portnoy's Complaint, a long obscene monologue by a
Jewish comedian. It was a hit, and readers immediately
identified the narrator with Lenny. Questioned, Roth
said they'd met; he'd listened to some Lenny LPs; read

the book of routine transcripts; saw the concert movie
— but denies influence. Portnoy springs, he says, from
"a sit-down comic named Franz Kafka." No mention of
what Goldman notes: in 1964, Roth was assigned by a
magazine to cover Lenny's New York obscenity trial,
which he attended but never wrote about. Roth, Goldman
notes, was "hotly competitive" with Lenny, saying he
wasn't funny, mocking his use of words, etc. I hear
jealousy & debt. Something alive in Lenny Bruce was
transplanted into Portnoy. I think Lenny pervades Pop
Culture even as he's largely forgotten: every voice of
extremity, pushing the limits of life, is him. Gore Vidal's
Myron Breckinridge, before transforming into mythic
Myra, does a stint as a stand-up comic. I drift down
rabbit trails. Lenny often mentions Nelson Algren, the
gritty Chicago novelist, who seems to have represented
to him a writer of human misery & disease — as Lenny
would've been, I guess, had he been a writer, which |
think he always longed to be. Did they meet? I write
Algren's biographer, who suggests contacts. Algren
caught Lenny's act, it turns out, at least once, was an
admirer, etc. He's big among comedians. As Jerry
Seinfeld has said, modern stand-up "started with Lenny
Bruce." To Joan Rivers he was "a turning point for me
as a performer." Many are enthusiasts. As Norman Lear,
the sitcom king, said, "Anybody who ever saw him was
influenced by him." Lenny was largely dismissed by
comics who came before him (Groucho thought him
"overdoing it"; Jerry Lewis found him "infuriating"). But
the shift had occurred: doing an "act" was over. The age
of fictions was ending, I guess. Woody Allen,
interestingly, was not a fan. To him, Lenny was just
selling freakdom to people who only wanted a taste. "I
think that many middle-class people and squares
followed him very avidly because he was, at a time that
was forbidden, talking dirty, and clearly on dope. And a
huge amount of his audiences were straight middle-class
people who thought they were doing something wicked,
that they were suddenly in the know, that they were
suddenly hip or rebellious." But Woody misses
something about what normal people got from him.
Malcolm Muggeridge recalled a club appearance in
Chicago where the crowd was "affluent-looking, middle-
aged, trendy," sipping wine, the women decked out in
jewels & new hair-dos. He thought it bizarre, like these
people had shown up to have someone slap them & say,
"Take that, you vile bourgeois scum." They're here to be
taken apart. They came to be attacked: for being stupid
& boring, for imprisoning themselves in standards of
speech, luxury, manners — in which they do not believe.
I'm feeling again the excitement I had for the
centerpiece chapter: a reconstruction of the feeling of
Lenny in concert. The funny thing is, for all the product
he generated (LPs, books, articles, essays, movies,
musicals, plays, etc.) nothing preserved for the ages the
thrill people felt in his presence — what Newsweek
called the "demonic energy": what Mel Torme felt after
Lenny opened for him: "Who is this disgusting creep?":
what Jack Kerouac heard in a Lenny LP: "I hate him!

left Honey. "Arousing in Lenny the deepest rage he ever
felt," Goldman writes, "she inspired in him the most
brilliant humor he ever created." I suppose men need
rage against a woman to get fired up & accomplish
something, even if it's only marriage. | wonder if a
woman would inspire me. The fags who flit through the
strip club where I work, certainly, arouse mostly
revulsion, though there was one guy — I could tell there
was something strange about him — as he reached out to
me & said, "I feel a void. Tell me about the void." But I
had nothing to say. I did locate Kitty Bruce, Lenny's
only child if you don't count Honey's six abortions ("I
looked down between my legs into the bowl and there in
the mass of red pulp I saw a baby, a fully formed baby
boy"), but whenever I called, she said she couldn't talk
just then. As she was hanging up the last time I said,
"Did your mother love your father?" — and Kitty
replied, "She loved him more than anything else in this
world, except for me." Then she was gone; and in the
silence | knew it wasn't true. Lenny & Honey had a
bizarre, twisted relationship. She'd tell him to leave the
house so another man could come & have sex with her,
and he'd go. I think she called him a faggot all the time.
("Women are always calling you a faggot," Lenny says.)
It's like some enormous effort is required to keep a
female happy — or restrained? ("In five years of
marriage he didn't hit her but twice," Goldman says); and
it isn't worth it. The love of Honey's life was heroin. I
asked Richard Shackleton, who knew her, whether she'd
even mourned Lenny's death. "No, I don't think she
mourned anything," he replied. "The mores and morals
of junkies are much different than anything you, unless
you were a junkie, would ever relate to. I don't think
sadness or remorse is in play." So that and a few more
chicks who sucked his dick is Lenny's history with
women, leaving the most important category: solo sex
acts, which includes masturbation, as detailed in his
memoir, and also drug use, which "reminded him of
jerking off when he was a kid"; though most

importantly, I guess, the autoeroticism of being on stage
alone.

fa) =i. t { p
4 N

cme Fs ‘ 5
WHEN A WOMAN IS STRIPPING, from what I've seen
of that, it's a performance for a man who isn't there.

The pole is the stand-in for the phallus she is
worshipping. When men strip, however, it's quite a bit
different. Performing for women, it's comedy.
Performing for men, he might offer little bottom-boy
contortions, wiggling his hungry ass, but more often
drifts into a private space, indifferent to those watching
him — unless, of course, they have dollars. Lenny's
stripping was more unusual: stripping for straight guys,
to lure them into a homosexual response. I made a file
on the subject, naturally, When Goldman hung around
Lenny's hotel room, he'd find the comedian clad
typically in a towel, and "there's this funny aura of soft
white flesh and things falling out that aren't supposed to
fall out" — Lenny, he realized, not Honey was the
stripper. In fact, Lenny first became infamous on the
L.A. strip club scene by coming out on stage naked, to
upstage the girls. He kept taking off his clothes. The
Stamp Help Out! booklet has pictures of Lenny shirtless
& naked (sitting on a toilet). The Lenny movie has a
good scene of him being interviewed, shirtless, by the
faggy reporter for Time; the resulting article was,
predictably, vicious. But Lenny didn't really play to the
fags. He played to the straight guys. Goldman, certainly,
though him "spivily handsome," with a "fascinating
face," "bewitchingly sinister figure" and "beautiful dark
eyes." His "sexual ambiguity" anticipates "the stage
manner of Mick Jagger and Jim Morrison." (A recent
biography of Morrison notes he was a fan.) I was
developing a thesis that Lenny, following his breakup
with Honey, worked to replace the female with himself
— and remained a touchstone for highly androgynous
figures. (On his 1972 tour of America, David Bowie
holed up listening to Lenny LPs, which he thought "the
most American.") This isn't obvious on first listening to
a Lenny performance. A big part of his act is that he
comes off as a straight guy, an Everyman. He launches
into praises of women's bodies (Beautiful, sweet, tender,
womanly breasts that I love to kiss; pink nipples that I
love to feel against my clean-shaven face. They're
clean!") that dirty-minded censors would prohibit. But it
rang false, to me. A reference to Lenny in a book about
sex in the ancient world led me to its author, classicist
Bruce S. Thornton, who agrees: "There's a sense of
bravado to his protestations of sexual liberation," he
thinks. "You sense he was trying to confront and tame
with humor sexual demons that frightened him."
Thornton mentions a bit — a good one — where Lenny
gets in a cab next to a pretty blonde & starts wondering
if she is a he? "Well, she looked a little too pretty,"
Lenny says, "and faggots have that kind of knack of
taking the best from all chicks. And she looked like she
had electrolysis. So I was with my friend, we were in a
cab, you know, and right away I want to kiss her." "Same
thing," Thornton concludes. "Beneath the humor seems
to lurk a fear of his own sexual appetites. If you start
pushing the envelope, who knows where you end up?" As
a faggot, is the answer. The closer you get to women,
the more you think you might be a faggot, I guess. The
perception that Lenny was homosexual was in the

| AM NOT A COMEDIAN: PT. 2

By Jonathan Poletti

PDE aX :
I urgently needed to make more progress on my Lenny
Bruce profile, so I quit my job & when I ran out of food,
took an evening job as a stripper, still pretty much
overwhelmed by the size of the project. I had hundreds
of note cards, tracing the strange patterns that unify a
life: like his curious habit of lunging at grown men. As a
teenager he'd rush Mr. Dengler ("and give him a big
hug"); in the Navy he'd rush into the shower ("and start
to grab the guy's cocks"); then, near the end, the police
("With that he made a lunge for the cop's pecker..."). I
guess every boy needs contact with men. Where it's not
offered, you reach for it. There's patterns in responses
to him. Biographer Albert Goldman called Lenny's
comedy "unprecedented on the American stage in its
violence and outrageous scatology"; as Manny Farber

called it "excrementlike"; as Time called it an "unceasing
stream of sewage." People were always calling him shit, I
guess. One book I found psychoanalyzes Lenny's
comedy as an "excremental regression to infancy." I
didn't think that was true, maybe? I made a lot of notes
on shit. President Eisenhower, Lenny says, "never went
to the toilet; he just stood there" — like he was unable
to shit, I guess, as if civilization itself is constipated. But
on the cover photo of Lenny's concert pamphlet Stamp
Help Out! he stands with an axe over a cracked toilet, as
if conquering it, or letting the shit stream out? It was
too complicated for me. A more sizable project, though,
was cataloging & sorting all of Lenny's sexual
experiences, divided into 'men', 'women', and 'solo'. Of
men, there are the experiences, alluded to, when he was
in the Navy; then his own curious third-person history
of a young dancer named 'Arnold' or 'Horace' who goes
to Atlanta for a summer & "became a faggot" — which
matches, to me, young Leonard's own brief period in
Hollywood after he was discharged; then his undated
experience in a San Francisco bathhouse ("this guy had
my cock in his mouth"); moving onto the troupe of
young blond men ("the guys") who were his companions
on the road, about whom Goldman is suggestive
("Sometimes they even ball the same chicks—or each
other"). As a middle-aged comedian Lenny seemed
always to be hanging around young men. Goldman
himself is a curious entry in this file. His Lenny
biography was a minor success, but he became infamous
(by some, hated) for his next biography, centering on
those passages in which he describes Elvis' penis &
suggests the Memphis singer was latently homosexual. |
researched Goldman. He first came to prominence in
national media with an appearance on CBS's 60 Minutes,
arguing, against Gore Vidal, that homosexuality is a
mental illness — which is obviously true. But his
accumulated rock criticism is all about androgyny, and
writing about Lenny, in particular, he seems infatuated.
Lenny's history with women is similarly vague. In his
memoir he claims an epic promiscuity, which I doubt.
On furlough from the Navy he was desperate to marry a
married friend of his mother's, apparently the first
woman he'd had sex with: I think she seemed to offer a
reprieve from the faggot future he saw waiting. Then
there was Hot Honey Harlowe, the lesbian stripper he
married, She's died now, and I can't locate the Playboy

journalist who ghostwrote her memoir ("I felt his body

stiffen as his cock burst open, spurting creamy pollen
into") — so perhaps there's no way to know what they
did, and felt, for each other. I wish I could talk to
Honey. | started out really liking her. I guess the 1974
movie, which I saw as a kid, made me sentimental. You
start thinking it could've been great, if Lenny had just
been nicer to her. I wondered if I could find a girl like
her, who'd accept me as I am, somehow. Now that I
know more about her, of course, it seems like way too
much trouble — even though, as Lenny's mother, Sally,
liked to point out, his major comedy only began after he

where the money is at. But I'd still sing for my friends and family.

You wrote your autobiography about eight or nine years ago. Tell
us why a publisher has not been found yet?

I did have a deal in the beginning with abig book publisher, they had
done Meatloaf and almost everyone. My idea of a big advance and their
idea were a lot different. When I didn't get what I wanted I pulled out, I
wasn't going to be ripped off! The book is ready if any serious publisher
wants to read the manuscript. I've been adding to it through the years.
It's a long, long story, 700 or 800 pages. Most publishers want 300
pages. All I can say to that is the way I've lived my life that wouldn't go
from the toilet to the kitchen! I suppose I'll have to chop it down to
about 500 eventually. One publishing house wrote back that nobody
would be interested my life or the people involved in it. Fools!

Nik Cohn read a copy of the manuscript that was sent to him with
your blessing just after it was finished, he was lavish in his praise.
Yeah I remember going to the photo copy place with the typed
manuscript in a plastic shopping bag! I've since had all of the pages
electronically transferred onto CD, the way it should be. If I recall Nik
said that my autobiography was a monumental, messianic sprawl of a
book...publisher wanted, must be dauntless! Nik said that two years ago
and I'm still waiting for that elusive publisher to ring! When I first
started work on the book I agreed to work with a ghost writer. Rosemary
Kingsland was her name but we never got on and the story of our
troubled relationship and disagreements inspired a documentary on
Channel 4 Television in England. I ended up firing her and doing all of
the writing myself. Booze, bans, babes and bankruptcy...I've had a
wonderful life!

What are you doing these days P. J. and are you happy?
AmI happy? I don't really know. I know what would have made me
happy. I was happy as a millionaire with homes, cars, servants, wives,
family and allthe trappings of a good living. I've always done
everything 110% so I have no regrets really. I do miss the money | had,
I'm not broke but I'm badly bent. One of my main ambitions is to get my
royalties from EMI, just like some other big names who've never been
fully paid either. I don't live in London these days but in the Vale of
Evesham in Worcestershire, central England. I'm in a house with five
acres of apple and plum trees surrounding me and my little dog Tilly, a
red Dachshund cross Jack Russell terrier. I take her everywhere with me,
My garden is a free grocery store for the birds, rabbits and any other
animal that calls by. I have no social life now because I don't really
know how to mix with people without a drink. I don't mind being on my
own. One of the hangovers from military training is that I've always
been able to get along with myself. I'm still making records and still
writing songs. I'm also still touring Great Britain, sometimes with my
own solo show once a year and I do other tours as part of a 60s
themed bill with groups like The Searchers and Gerry and the
Pacemakers. I also sometimes do shows in other European countries and

Australia in 2004. If I could get enough work in the U.S. I'd move back
to Texas, no problem. When I toured with The Who in
"Quadrophenia" all over America in the mid-90s it was amazing. A rock
musical playing stadiums. There's a great DVD out of the show from the
tour we did. They certainly know how to tour in America with the
luxury buses, hotels and catering. In England it's much different, you
have to find the theatre yourself! I've been touring in Britain again since
about 2001. The people come to my shows and when they leave they
have had a great time and are happy, excited and smiling, they call it the
P. J. Proby facelift. I'll be back on the road again in March. When on
tour I live out of my Winnebago motor home which makes it easier for
me and Tilly, no hotels to mess with and their rules and regulations.
Tilly takes me for walks and helps keep me fit in between my stage
appearances. I have a gym at home and I try to work out every day. It's
important to stay fit and healthy, Healthy or not I don't seem to be
lassoing the women like I used to do but I'm still looking. Then when I
see a pretty young girl I usually ask myself do! still want all the
emotional drama?

Thank you for the interview P. J
hearing about your up and down mu:
swing continue sir.

My pleasure. . .. Adios Amigo!

it's been really fascinating
al life. Long may the upward

EET NHL eT #

P. J. Proby is billed on some posters as "the greatest white singer in the
world, " his many fans know why. lan Hunter of Mott The Hoople,
called Proby, "a fucking pirate in this world of drudge." I think that just
about sums him up! A very unusual singer and personality and very,
very underrated!

Proby has six European web sites dedicated to him and one in
Australia, all containing everything you may possibly want to know
from his past, present and future. Check them out please and also his
music clips on YouTube. Check them out please especially the newest
site: www.houseofproby.co.uk

Ron Tennant is a long standing Proby friend, fan and collector. Contact
him at: rontenn2001@hotmail. com

from then on. They said I blacked out and was having convulsions. I had
the first of a series of heart attacks at that time. They say I died three or
four times but the doctors saved me. I spent four weeks in the hospital
and from that moment on I renounced alcohol. My withdrawal was
appalling and for a time I could neither walk or talk. I eventually got
back to England, don't know how!.

Stopping drinking rescued your career then?

Definitely! When I arrived back in England they wouldn't let me in. I
was a wreck and weighed about 98 pounds. Passport control just did not
accept who I said I was. They said could I ring someone who would
vouch for me. The first person I thought of was impressario Bill
Kenwright whom I'd worked for in Joseph and The Amazing
Technicolor Dreamcoat about ten years earlier. It did the trick and we
kept in touch whil I was getting fitter and healthier again. One day he
invited me over to his place and he said he'd put me in one of his shows
in Liverpool on a trial basis. I wasn't even billed at first, I was the
surprise guest. I had standing ovations from my first night onstage,
many people not even believing it was me playing the part of the young
Proby up there. I never used the help of therapists or Alcoholics
Anonymous ever. No man had ever lived what I had lived so how could
a therapist tell me how to get over it or how to adjust my life. I used
music and the audience as my therapy. From that show which was called
"Good Rockin’ Tonite" I then did another of Bill's shows in London
"Only The Lonely" and then another production of the "Elvis" musical
in 1996. Those three years passed so quickly I never had time to think
about alcohol, it didn't bother me and it still doesn't. My confidence
returned and I proved I could do things better without a drink plus I was
singing better than ever. Jack Good was my mentor but Bill Kenwright
became my savior. I now stay off the booze, it's fifteen years now. I
drink a lot of water and although I hate tea I drink it all the time.

Tell us about your engagement to Claudia Martin, Dean's beautiful
daughter?
In 1972 I think it was, I met Claudia in Hollywood and we started living

Yet another wedding in Dino’s family:
Claudia Martin and singer P.J. Prob,
are said to be. on verge of a merge

together in my house, off Sunset Boulevard. We were engaged to be
married. ThenI went on the Dean Martin show on TV. I was very
nervous and asked her to stay close to me as it was the biggest show I'd
ever done. I knew with her around I wouldn't reach for the bourbon. But
she left to go to Peter Seller's birthday party so I got blotto. Then came
my call — “P. J. on the floor please!” I got before the camera's, sat on
my stool, strapped on my guitar and they started up my hit song, think it
was "Hold Me.” I sang a few lines and then fell over backwards. That
was the last thing I remember - I was out cold. When I woke up I found
that Claudia had tucked me in bed. Dean had paid me my money but
Claudia had helped herself to it and left. I got in my car, put my bourbon
and a Colt . 45 on the dashboard and drove off to find her. I found her on
Santa Monica Boulevard with another guy, my car mechanic. I fired
some shots wildly around just to scare them. What! didn't realize was
that I'd parked my car almost outside the Hollywood Police substation.
Suddenly I had a . 45 in my ear, another up my nose and a shotgun up
my ass! I was arrested and spent three months in the glasshouse in for
discharging a firearm in the city limits of Los Angeles, open whisky in a
car, and for carrying a gun with no license. When! got out I decided to
go back to England, I was broke again and Claudia had gone off with
her new boyfriend. I did some cabaret gigs in the north of England and
earned some money. Then the bookings ran dry so I took jobs as a shelf
stacker in a supermarket, then as a janitor and finally I was a muck
spreader on a farm. I didn't care, I had a rubber butt, I knew I would
bounce back. From the Dean Martin show to shoveling shit! It could
only happen to me!

Favorite singers?

Hank Williams, B. B. King, Hank Snow, Frank Sinatra, Tony Bennett,
Gordon MacRae, singers like that who have stood the test of time. From
the 60' groups...the Beatles, of course, and maybe the Hollies for their
harmonies.

What is your opinion of today's music scene?

I'm saddened by many of today's musicians, they're too manufactured
and digitally enhanced. I'm not impressed with programs such as Pop
Idol (American Idol in the U.S.), the show helps people hit the big time
but when the record industry has made their million dollars they are
dropped and they move on to the next "star." The talent is not the artist
any more but the engineer working the board in the recording studio. It's
a treadmill and it's all about money. Singer's today have no soul, no
emotion and no charisma. If I was starting out in today's music industry
then I wouldn't bother at all, I would be a lawyer or a plastic surgeon,

worked. We divorced in that same year...1978. My fourth marriage in
1984 was to Alison...my teeny bride. In Newcastle the police raided my
dressing room and said they were going to throw me in jail because my
lady was under age. I told them I couldn't stop her wanting to be with
me. She was 16, her parents were furious when we secretly married in
Gretna Green. We lived in a cottage in the wilds of Yorkshire,
Wuthering Heights country. Girls expect me to be like a wild man, like
onstage but I'm like a Jekyll and Hyde. When! come off stage I'm a
quiet, meek pipe smoking "Little House on the Prairie” man, I'm too
tame for the women,
What about your famous
Hollywood?

I had a nymphet colony type thing with thirteen and fourteen year old
girls in my Chelsea house in '64,'65 but they weren't allowed to have a
drink and nothing of a sexual nature ever happened. All they did to tell
you the truth was to take care of me. They worked like the seven dwarfs,
washing, vacuuming the floors, doing the dishes. Their parents would
deliver them to my house. I got on well with the parents asI did with the
girls, | even helped them with their homework. In 1966 after leaving
England I had a big house in L. A. andI founded "The Nymphet Club
Of Hollywood,” an after school club for girls aged 11 to 15. I wanted to
instill in them all my standards, set through military training. The one
thing I never did was touch the girls. These days the standards are
different to the ones I was taught in the South. I believe the ladies place
is in the house. The man brings home the bacon. Girls won't accept that
nowadays. Its just terrible to see a woman working like a man, dressing
like a man and sometimes looking like a man. There's no excuse for it!
Your views on race please?

I'm a Southern boy and to me New York is Europe. In my mind the Civil
War continues and my color prejudice is something that goes very deep,
it was a religion to me and I am trying to conquer it. It is very, very hard
but I honestly try. Sometimes it isn't made easy by the people I am
trying to accept. They can yell back that things were not made easy for
them for the past 2000 years but I know different, I majored in history.

nymphet" colonies in England and later

Do you know I once made a record "Wicked Woman" back in 1962
under the name of Orville Woods. The public thought they were
listening to a black vocalist. The DJs thought they were playing a
colored boy's record, so I went along with it. Eventually I got found out
but I guess it was me that broke the color barrier!

Who do you back to be the next U.S. President?

Let me first say I have no admiration at all for George Bush. I'd like to
see Hillary Clinton as the next White House incumbent, I bet that
surprises you. If she could continue what Bill started that would be
great. He was the best thing that happened to the States for many, many
years.

What about your home for the last 43 years - England?

In 1964 when I arrived in England it was different to now of course. It's
not like the history books or the historical adventure stories make you
think it is. When first got there I was expecting Disney World, old
castles and things and they were there if you knew where to find
them and kept the same. Now England is getting like a mini Chicago in
places and has grown like New York into a big metropolis, These days
freeways bypass the little towns and hamlets - the real England. When I
first lived in Britain hardly anybody knew what a hamburger was or a
Coke. It was a long way behind America, about ten years, but the gap
has narrowed to about one or two years now, not always a good thing.
Can you elaborate on that?

Well look at the war in Iraq, if Britain was still ten years behind the U.S.
then they wouldn't have joined it yet and it could well have been over.
You don't drink any more, what happened?

I started drinking heavy from a very young age at military school. It got
worse whenI was becoming famous. I needed it to give me a
personality. Everybody wanted to buy P. J. a drink, a wild P. J. Proby
didn't exist until I had a drink. It was a release of my inhibitions and
who gives a damn about what the rest of the world thinks - that was my
attitude. I used to drink five bottles of Jack Daniels a day, two before
noon and always with strong lager as chasers. Then having downed the
fifth I would go out on the town. Alcohol took away the pain, it stopped
me thinking about things I didn't want to think about. Of course because
of the drinking people were wary of me. I was a professional drunk
almost, Dean Martin taught me. You sip constantly, that way you don't
get stumble-bum drunk. Only sometimes! forgot to sip, I swigged
instead! In 1992 I was in Florida with a girlfriend Elizabeth. I was out of
alcohol and my Activan pills and I passed out. She got me to a clinic
and I handed them my prescription but the nurse said I should check
myself into the hospital as things were looking bad. I told themI wanted
a few drinks first and I got up to leay don't remember anything else

tt tee = —te ee

there were people that cared he had nobody who dared to show him the
way bac!

Your thoughts on The Beatles please?
Jack Good came round to my house in Laurel Canyon one night with
Sharon Sheeley. He knew! could sing but he had never seen me in
person before. I had very long hair, not because it was fashionable but
because I had no money for a haircut. He pulled on it and said "My God
it's real!” He hired me on the spot for the Beatles TV spectacular in
London and told me to report to CBS at ten-thirty the following
morning. I still didn't know who he was but after he left Sharon told me
all about him and the fact that he was the most talented TV producer of
pop music in the world. The next day my flight and all the rest of it was
arranged and I was on the plane to England. I'd wasn't really familiar
with The Beatles and their music at that time. I'd heard "I Want to Hold
Your Hand" and wasn't really impressed but! did know that this was
one hot group from England and they were offering me work. We did 14
days of rehearsals and on the day of the show Paul introduced me as one
of The Beatles best mates and a big star from the U. S. A. 1 was actually
neither of these things. After that introduction I just had to live up to it
and I guess I did! John was my favorite Beatle and we got to know each
other very well. They were a total influence from then on and for my
first year and a half in England. Much more of an influence on me than
Elvis, Sinatra or Tony Bennett. Lennon (and McCartney) wrote a song
for me "That Means a Lot" which I released as a single in the Summer
of '65. John even arranged for George Martin to arrange and produce it
for me when I recorded it at the Abbey Road studios. I was a regular
visitor to John's house in Weybridge, Surrey. Cynthia would cook lunch
and then we'd sometimes go to his private room painted black and red at
the top of the house and race his collection of toy cars or just chill out
together. He and Cynthia had an old Elizabethan bathroom bigger
than my flat and John had filled the bathtub with strange tropical plants.
I sat on the lavatory once without looking and one of the damn things bit
me in the balls! John was a real prankster. Paul was alwa’ bit distant
but John and I became real hard drinking buddies. One time we met up
at The Ad Lib Club and cruised through the booze with Cynthia trailing
in our wake. John was passed a massive reefer and to Cynthia's dismay
took a deep chest convulsing drag. And then another and another...then
suddenly he shot off to the bathroom where he threw up everywhere! I'd
even heard that sometimes he'd leave Beatles recording sessions before
time just so he could get to one of my wild parties in Chelsea. Beatles
publicist Tony Bramwell called me John's dark twin! I think that was a
compliment! One night I turned up on John's doorstep with 5 bottles of
bourbon. He said that he wasn't drinking anymore but was smoking this
peace weed. Sol said well that just means more bourbon for me boy.
We kinda drifted apart because John got laid back and I was still on the
booze, so we didn't have all that much in common anymore.

What are your views on homosexuals?

I'm much more tolerant now than! used to be but I'm still not very
liberal. I don't approve of them...heavens no! And neither does the
Bible! I actually worked in Hollywood in the late fifties as a bodyguard

at different times for top stars as Rock Hudson, Tab Hunter and Liberace
- all prominent, in the closet gay men at a time when such scandal would
be career death. If I ever heard talk like "Rock is a queer" I was to break
the guy's ankles or knees and if it happened a second time to put him in
the hospital again. I delivered a parcel to Little Richard once when! was
a delivery boy in my early Hollywood days, he invited me in but I got
outta there faster than an Olympic sprinter! Of course in my career I've
encountered lots of gays but these days if they don't bother me then I
don't react and I leave them to it. I'm a ram rod straight cowboy and
eve’ ybody knows that!

JATT ENTERPRISES LTD. in association with TITO BURNS

Present Farewell Appearances

and HIS ORCHESTRA \

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BOX OFFICES NOW OPEN!
| THE SORROWS repiace THE ACTION at Newcastle

Tell us about the women in your life and the life in your women.
Well I've had four official wives, I think it was four anyway...1
sometimes lose count as I've had six common-law wives too! I'm
actually still looking for one like my Grandmama. No woman can put
up with my strict way of life. I put on a white glove and walk around
testing for dust. I never answer the door either, that's the woman's job. I
just haven't had much luck with the ladies but I always had to have
romance in my life. Romance with a young girl. I was always putting the
girl on a pedestal. I was a total romantic and it took me a long time to
realize that life just really isn't like that. But I ruined it myself by
expecting women to live up to my ideals. I've never left a girl, they've
always left me. Do you know I've never been on a date in my life. I meet
someone when I'm out somewhere and I put a ring around her neck until
she leaves me. They leave when the charisma wears off. It's
heartbreaking of course at the time and it's one of the reasons I write all
those songs. My second wife was Judy Howard the heiress, her family
owned the race horse Sea Biscuit. Once married in the mid-sixties we
argued like cat and dog and then I found out she was cheating on me.
Judy committed suicide in Hawaii in the early 70s. She left a message
for her doctor, another for her mother but no message for me. Dulcie
was my third wife, we married in 1975. I overheard her engaged in "girl
talk" with another woman, Dulcie was planning to run off with another
guy. I was charged with shooting her with an air pistol six times out of
anger. I was found not guilty but I did do it, I really loved her but I had
to teach her a lesson. I was sure I'd be convicted but I got off, I made
sure I did. I was acting in court, it was like a theater production and it

et divorced!

How did you get into showbusiness?
I had always loved singing and I was a natural show-off. Even military
schools and academies couldn't change that. My stepsister Betty had
dated Elvis in 1953/54 just as he was getting famous in the South andI
wanted to be the same as him. After I left Western Military Academy in
19571 went straight to Hollywood to look up my old school friend
Tommy Sands. He put me in touch with people who could help andI
took it from there, but it wasn't easy!

When did it really start happening for you?

At first I went under the name of Jett Powers, did some minor acting and
made a few records. I took Jett from James Dean's name in Giant and
the surname from actor Tyrone Power. I changed my name to P. J
Proby in 1962, the same year as I got married for the first time to a girl
called Marianne Adams. At that timeI was songwriting for Liberty
Records and also trying to make it as a singer. In 1964 Jack Good took
me to England to guest on a Beatles TV show and bingo I was suddenly
big. All my records were hits and! was playing venues like The Royal
Albert Hall in London. You could say I started at the top over there and
worked my way down!

Why were you banned in the U. K. in 1965 and are you still maybe a
little bitter?

I was banned because my velvet pants split onstage two or three times.
My act was sexual but the splitting of the pants was a complete accident,
it was faulty material. My stage performances went down a storm with
the teenagers but the morality crusaders such as Mary Whitehouse and
Lord Longford believed I was corrupting the British teenagers and they
were appalled and wanted me banned and deported. Anyway they got
their wish and a fever of prohibition began against me and I was banned
from every theater in Britain and by the main TV companies ITV and

the BBC. It irritates me that I'm mostly remembered for that censorship.
Not many years later Iggy Pop got his tackle out onstage and nobody
paid any attention. I believe it was all a conspiracy against me. I was an
American making lots of money in England and the authorities didn't
like it and the showbiz moguls wanted British boys to be making the
cash. The night after my ban Tom Jones had taken my place on the tour
and he became a big star. I don't remember ever getting a thank you! I'm
not bitter...there's no point, it's such a negative emotion, I don't blame
the British people, it was just the politics in their music industry!

Is there still any rivalry between you and Tom Jones?

No! No! And there never was. He didn't steal anything from me. He'd
been working very hard for a long time and he was ready for his big
break. Tom and I were the only singers in Britain making hit records,
Engelbert wasn't even in the race then although he and others soon
found out how to imitate us. Tom andI were friends privately even
though the press has us down as rivals. I would go along with that by
challenging Tom to sing against me onstage, which he wouldn't do by
the way. I told the press that Tom was a great singer but it's a shame
about his face, he looks like my bassett hound! This was before his nose
job. He took everything seriously at first but he soon learnt from me
how to work the press.

Tell us about the first time you met Elvis.

I knew him since I was 14 when he was dating my stepsister Betty. She
had met him at The Hitching Post, South Maine in Texas, a bar room
that booked music acts. I usually saw him during the school holidays
when he sometimes came round to see Betty and stay for supper. At this
time he was just getting known and he was 4 about years older than me.
It was difficult to get to know him properly and despite his garish
clothes he was so distant as to be almost invisible. He was always very
polite, he was the product of his background...strong on religion and
poor. I remember my mother cooked him fried chicken one night and
not knowing about the table napkin beside his plate he wiped his mouth
on the tablecloth. Then along came the Colonel, the machinery took over
and he moved out of our lives. I have to say at this point that Elvis was a
hugely talented guy but there were many singers at that time in the south
jockeying for that position to be the first white black boy and Elvis just
happened to get there first! A few years later when he and! were in
Hollywood I used to play football for Ricky Nelson's team against El
and his friends. I was penniless and he was a big star, he used to give me
strange looks, he couldn't remember where he had seen me before. Later
on when he was aG.I. in Germany he found out I was "balling" one of
his chicks, Dotty Harmony. He never forgave me for that, she was a real
blonde beauty, a Las Vegas dancer who I wanted to marry but it didn't
happen. In the early 60s I made demo records for Elvis but I don't think
he ever realized it was me doing them. When I made it in England most
of the questions from the press were about my friendship with Elvis. In
the end I told them that Elvis can go to hell, | was fed up with giving
him free publicity! I did the "Elvis" musical in London in 1977 and said
at the time I wished I had not have played him onstage. I was haunted by
him and what I knew about him. Elvis had to go to such extremes to
escape the pain in his final years. He lost track of reality and though

PROBING PROBY

By Ron Tennant

ae ee

Legendary British rock pundit Nik Cohn described him as one of the
greatest artists of the sixties and a genius. Proby was a genius but a
flawed one. He had/has one of the finest voices in pop history but was,
and still is to a certain extent, a maestro who has been as erratic and
eccentric as he has been brilliant. According to Cohn, Proby was, "the
great doomed romantic showman of our time. " Onstage he was
magnificent but offstage he was a bundle of trouble. He reached the
very top in the mid 60s but staying there with his huge ego and self-
destructive habits proved to be impossible.

P. J. Proby (real name James Marcus Smith) was born in
Houston, Texas on November 6th, 1938. He loved singing and won
various talent contests as a child. A born show-off, he took to the stage
like a natural. Entertaining girls was what he loved doing, the rest of the
audience were just seat fillers as far as little Jimmy was concerned;
being popular with the girls was his primary goal. At the age of ten his
parents divorced, which affected him deeply, and not long after he was
sent to military school (where he was popular with the chicks for his
sporting achievements). After graduating the eighteen year old went
straight to Hollywood, changed his name to Jett Powers, and found
work in TV westerns and as an extra in "B" movies. Jett also made a
couple of records on the Design and Beta labels which were minor local
hits. He briefly joined The Mello-Kings (“Tonite, Tonite”) as lead
singer when their regular singer did six months in the can, and later
joined the Moondogs with Larry Taylor (Canned Heat, brother of Mel
Taylor of the Ventures), Marshall Leib (The Teddy Bears) and Elliot
Ingber (Mothers of Invention). He worked at Liberty Records as a
songwriter, penning hits for Johnny Burnette (“Clown Shoes”) and
Ricky Nelson and others. In 1962 he changed his name with songwriter
Sharon Sheeley's help to P. J. Proby and after making some demo songs
for Elvis, Burnette and Johnny Cash, Liberty Records released Proby’s
own singles, which flopped.

But in 1964 everything changed. Brian Epstein hadasked TV rock
visionary Jack Good (Shindig) to produce The Beatles first TV special in
London. Jack could pick the guest stars, and soon Proby was on the

plane to the U. K. as Good, who understood the visual aspect of rock ‘n’
roll as well as anyone, liked his look as well as his sound. Proby was an
overnight success in England on the show, nothing had ever been seen
like him before. He had his long black hair in a pony tail tied with a
ribbon, a pirate shirt, tight trousers, and buckle shoes completing the
18th century image. But it was the booming voice and the passion that
sealed the deal. He became a giant star literally overnight. He instantly
found himself making hit after hit, earning a million pounds a year, and
becoming the darling of the paparazzi. His gift of the gab, stunning
parties, and ability to drink everyone under any table (as John Lennon
found out after he challenged Proby to a drinking contest in April '64)
were legendary.
But by 1966 things had all gone wrong. Proby was bankrupt, the cash
had been spent, his "friends" gone, and he'd been banned from
performing in England because of his lewd stage antics. He was
deported back to the States after his British work permit expired and his
career went down the pan.

In '67 he had an unexpected U. S. hit with "Niki Hoeky"
(“Niki Hoeky/Your pappy's doing time in the pokey/Your sisters on a
trip/Your momma got hip...”). He bravely began to rebuild his career,
eventually returning to England where he was still wellknown. The
golden days had gone but Proby was a fighter (in more ways than one)
and he's been over in England singing in musical theater (he’s played
Elvis twice) in rock ‘n’ roll revival tours, and as a touring solo act ever
since on a roller coaster ride of good, bad andugly times. The booze
almost did for him in 1992 so he quit the demon drink, and through a lot
of hard work and determination Proby has managed to still top bills in
the U. K., Australia, Sweden, Germany, Denmark and he hopes to be
touring in South Africa and Japan soon. Proby would dearly like to
appear in America again, the last time he was in the States singing was
in 1996 when he toured with The Who in "Quadrophenia.””
What follows is a recentinterview with the controversial singer in
which he answers questions about various happenings and incidents in
his life. He still has the ability to shock, in fact he sometimes enjoys it.
No boring chats with P_J., I'm afraid, he tells it like it is!

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Roctober: Does God play a role in your life?

P. J. Proby: I've always believed in God even when I was drinking,
especially when I was drinking. He didn't like it but he still gave me
another break. God and me are good friends, people say they have a
friend in Jesus but I prefer to go straight to the top, with no middle man.
Every night he's with me, he's my agent. Back in the early 90s I actually
had a series of heart attacks anddied in Florida but the good Lord
brought me back from the dead and he became my best friend. I felt like
a new man in a new body after he gave me another chance and there's a
reason he did that and it wasn't so I'd just sit on my butt for the rest of
my days!

Did you have a happy childhood?

Up until my parents divorced when I was ten I was doing fine. When
they divorced I had the choice of living with my mother or father and I
chose my mother. My father went beserk in the courtroom and the judge
gave mother custody but ordered her to send me to military school.
From ten to eighteen years of age I attended different military schools. It
was most difficult at first, wearing a uniform, marching, taking orders
etc. I hated my parents visiting because it was so hard to say goodbye.
Of course they visited separately and each wanted to know from me how
the other was doing. I was asort of message boy. I could never
understand that! If they were still so interested in each other why the hell

somehow, andI don't know how. We were pretty much
residents at Metro. Joe Shanahan was really cool with us. We
played all of Metro: Smart Bar (the downstairs dance room, still
active), Joz on top (no longer there). Whenever people like
Lydia Lunch would come to town, we'd be the opening act. We
played Exit a lot. We played Cubby Bear one time. We did our
Dynasty show, because the TV show Dynasty was really
popular. We didn't want to miss it and we played at 8:00 at
night, so we could watch Dynasty and have it play in back of us
while we were doing our show.

Travis: Oh, but the fun part of that show was there was this big
problem playing this show. The Cubs had been expected to win
something (Metro is next to the Cubs’ ballpark Wrigley Field),
and they were out of town. They had cancelled our show before
that, and all this other stuff had gone on. Eventually the show
finally happens, our fans had come from out of town. We set up
the equipment on stage, and we've got these TV sets showing
Dynasty. We were playing in the background, and when
Dynasty ended there was always this dramatic cliffhanging
thing. At the moment that happened, then off go the TV sets and
this insane noise starts - the ONO show is in full force! THAT
was, for me, perfect, because it brought the idea of sound and
performance together. The kids loved it.

P. Michael: We ended with "Darling Nikki" by Prince.
Somewhere, somehow, we'd pack 'em!

So how much longer did ONO keep going?

Travis: Actually, it's still going! We never thought of ONO as
having ended. We're still in good stead with all the old ONO
members, so if they were to show up today, they could play next
weekend!

P. Michael: Shannon just showed up at Chic-A-Go-Go. We
hadn't seen her in 25 years, she just showed up!

So how did she know to show up in the first place?

P. Michael: She saw our Myspace website, she wrote to Travis.
We told her what we were doing, and said she should come on
down!

Travis: She had been away all these years getting her Ph.D in
Indiana! She and her new husband drove into town and we
played that (TV) show. If Mark were to show up, it would be
time to play again. Ric says he's retired, but if he decides to
show up, there's a place for him.

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Naked raygun saw us somewhere. Special Affect was playing at
the Exit, and Naked Raygun was opening for them. They asked
us to go on after them, like at two in the morning. So the first
ONO show was me, Travis and Mark (ca. 1980). After that, we
had gotten shows at O'Banions, Lucky Number. We played a lot
of these old punk venues little by little. Mark eventually had to
leave town; that's how Ric got into the band. Al, who by then
had left Special Affect and was starting up a group called
Ministry, his girlfriend was Shannon Rose Riley at the time. He
said, "I got somebody that would really be cool for you guys,"
and he introduced us to her. She sorta played saxophone and the
accordion. She was a character. She joined up with us, and Al
said "I got this record deal. Thermidor Records (owned by Joe
Carducci and Joe Bechard, distributed by SST) wants Special
Affect singles. They had officially broken up, but he had told
Thermidor Records about us. So they were interested. Al was
going to go into the studio with us. We were gonna make a
single. We were able to get a hold of Al and his engineer, which
was lain Burgess, so we went out to Chicago Recording Studios
to record two numbers with Shannon, and Al was the producer.
After we had done it, we had shipped it around to Wax Trax.
They said because Al was on Wax Trax at the time, or he was
working with them, they said "Let's hear it! We could probably
do something if Al produced it." We played it, then (Wax
Trax's) Jim Nash listened to it and said, "well, ah, well, ah,
umm, it's really interesting." We said, "that's fine, we
understand!"

As abrasive as a lot of Wax Trax records were, they rejected
you?

P. Michael: They weren't THAT abrasive! (laughs) They were
danceable! We didn't quite fit in with anybody!

Travis: I think that the real reason Al was attracted to us is
because Al is, at heart, deeply Catholic. When we met, we met
pretty much on that level. Then the Pope came to Chicago for
the first time - we went, all together. Al, Shannon, P. Michael
and me. It was one very spiritual event, unrelated to the Al that
people in the music world know.

P. Michael: Thermidor Records liked it, they heard it, so there
was a lot of correspondence. in Joe Carducci's book you can see
a letter written by Travis to them asking them what their
intentions were. In his books you'll see a lot of ONO
memorabilia because he collected everything and then he stuck
them in his book.

Travis: We're told that he is very happy about his relationship
with ONO and moreso now because there is a lot of drama
surrounding his relationship with other producers that turned out
not to be what they thought they were. And still were as nasty as
we ever were, today!

P. Michael: Our aim was always true!

Travis: The man was just too cool! We had complete control.
He sent us the contract, and in it was everything we ever asked
for. We went in the studio and did our own mix, our own
everything. They put it out exactly as we wanted. I was blown
away! They let us do everything. All of the design is ours - Ric
is a graphic designer, so he does it. All of the calligraphy is
mine. P. Michael and Ric had the final say as to how the mix
went and it was really wonderful. I'm very happy to say that we
got exactly what we bargained for.

So what was the scene like? This is when things get
interesting? Did everybody react like those kids on the tape?
(Earlier, P. Michael played me a vintage tape of the band
playing at the Metro for a rowdy audience at a Naked Raygun

show. The reaction to their freeform freakouts was mixed - and
I'm being polite...)

P. Michael: Well, there was the University of Illinois, where
they threw money at the act before us, and just booed and hissed
them...

Travis: Every year they had this Festival of the Arts kind of
thing - this was music - and so all these people played. This guy
was doing all these incredible things. All these frat-type people
would just hiss and boo and throw things at the stage. The guy
before us just couldn't take it; all these missiles started at the
stage. Then it was our turn. Thirty ONO fans sitting there, and
this was in the lunchroom at the U of I. We did "Pyramid Of
Drums" - we set up amps in this pyramid, and then I come out
and put out these hubcaps and chains around the stage. In the
meantime, there's these guys - BIG GUYS HANGIN' AROUND
THE STAGE. After setting this up, we're introduced, and I
come out on stage in this wedding gown with like twenty feet of
train, and gloves. I've got my chains and hubcaps, and right
there in front of them...in no time at all, that space was clear!
(laughs) We started playing, and all this rush of noise, like a
trainwreck - voomvoomvoomvoomvoom...

So were the thirty ONO fans you mentioned still there?
Travis: They then came up to the front of the stage. These guys
(the big guys hanging around the stage heckling people) had
shown how nasty they could be by intimidating the other bands.
So we decided to have some fun. You want some action, I'll put
yo' ass in traction!

P. Michael: We actually played everywhere in the city

and the Mysterians, to this very day I listen. I watch the video.
Most of the other groups I saw - the Velvet Underground, all
those people - before 1969, I was still in the Navy, but when the
ship pulls into port, you can get all this culture. What kids in the
Phillipines did with the Doors, for instance, blew me away. Kids
who didn't even speak English could play every note the Doors
ever played and sound like Jim Morrison down to the nth
degree. You'd go to these clubs and they were floating walls.
For me, that's what the music meant. It had to be more than just
the notes. In a COGIC church where people are playing and
rolling on the floor, and you're feeling something, that's when it
pulls me in. Not because it was music. I don't like music!
(laughs) There was just this other part of it where I could write
these fabulous lyrics and have fun on the stage.
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So when you and P. Michael got together and formed ONO,
how did you choose the punk/new wave scene?
P. Michael: It picked us!
Well, it wouldn't have played at the High Chaparral
(soullblues club in south Chicago)...
P. Michael: We could have (laughter all around)...but we didn't!
(does imitation of the local blues DJ who owned the venue)
"This is Pervis Spann the Blues Man, presenting, on stage at
the High Chaparral, ONO!"
P. Michael: ...and then we'd come out and do (Bo Diddley's)
"I'm a Man" 'cause we used to do that too!
Travis: P. Michael would do all this stuff that I knew in the back
of my head. Because me being from Mississippi, I heard all that,
and my mother is a wild woman to this very day! And her
friends were into everything Mississippi and Tennessee. They
went up and down the road from Memphis to Tupelo. They
were wild then and are still wild! So I was hearing not only
Mahalia, but also this stuff in the background that P. Michael
would play that I heard but didn't pay any attention to. Then it
would come back and I would mysteriously know the lyrics

from hearing it so much. So out of the blue P. Michael would
say, "we're gonna do 'Gimme Fever!'" and I didn't even have to
think about it!

P. Michael: We went to a disco once and we were playing our
stuff and all of a sudden we went into "Daddy Rolling Stone!"
We would play all this old blues stuff - this would come out of
the blue. We were at a charity dinner in Evanston...we went into
(both men sing the intro to Rufus Thomas'"Walking The Dog")
and then we went, "baby's back, all dressed in black..."
(everybody laughs).

Travis: At a wedding, you did this...

P. Michael: We did that at a wedding. It went over so well that
they made us do it twice!

Travis: Yes! In this big house...these rich white folks! (laughs)
P. Michael: We were playing all this racket before that, and this
poetry, and then all of a sudden...

Were the originals improvised on the spot?

Travis: Oh no no no no no. P. Michael insisted that we would
rehearse Monday, Friday and Saturday. That's a lot of
practicing.

P. Michael: We had tunes. In 1980 (when the band started), it
was me, Travis, Cathy and Mark, the guitar player. We
practiced like that religiously and then we did a little demo tape.
Cathy kinda came in and out because she was busy having
babies and selling pig ears on the pig ear truck.

Travis: She was a Shakespearean actress, she was outrageous
and she was WILD! High yellow with all this hair, and always
dressed in costume no matter what!

Did she ever go on to do anything else?

P. Michael: She works in public aid.

But no pig ears?

Travis: As far as we know, you never can tell with Cathy.
Anything is possible. Way back in the La Mere Vipere days, she
would come by my house at 1:00 in the morning - "GET UP!
WE'RE GOING TO LA MERE VIPERE TO DANCE
TONIGHT!" She'd be wearing a machete! She would go to La
Mere and beat the walls in with the machete and no one would
say anything to her (laughs)! It was crazy! After La Mere, she'd
drag me to O'Banions.

So you guys got indoctrinated into that scene?

P. Michael: We saw it! But we weren't really part of it, we didn't
dress like that or anything, but we understood it. 'Cause
remember, we knew Iggy! And Iggy invented them!

Travis: I had another angle because I was going to all these
queer bars and I was used to doing all these (snaps fingers) fun
things that you see ONLY in queer bars - people go in costume
and just pose up against the wall and jump off things and act
like Iggy and all the rest of them! And this was pre-punk!

P. Michael: And all those bars that were gay bars became the
punk bars! Because the punks couldn't have a bar anyplace, so
the gay bars would have punk night. O'Banions used to be an
old gay bar. We used to work at Medusa's which was (then) a
gay bar that had Sylvester and all these disco groups. (Jt became
better known later in the eighties as an all-ages new wave dance
venue. --JP) Eventually, we put together a little tape and we
went to Punkfest when the punk thing started. We ran into this
guy that was skating that turned out to be Al Jourgensen. He
was in the Immune System and then he left them and then he
was going into Special Affect. One night they were playing with
Naked Raygun. Somehow we knew Naked Raygun, probably by
going out dancing. No, we hadn't played any shows at all, but

Photo by Charles Wirstrom
other end of the block we had the bass player from Ramsey
Lewis, which was Mr. (Cleveland) Eaton. And then next door
we had Jim Randolph, who used to DJ on an early version of
WVON. Across the street we had Calvin Carter, who owned
Vee Jay with his sister Vivian, so they would play the Beatles
and stuff like that. Next door, we had the vice-president of
Motown's sister, which was Mrs. Abner. Curtis Mayfield lived
around the corner. The Staple Singers and Howlin' Wolf, they
used to live down 89th. The Five Stairsteps lived across the
street from (what is now known as) Chicago State (University). I
was aware of all that stuff, but then I heard the Stooges and the
Velvet Underground. They used to play (their records) in the
student lounge at Loop College (now Harold Washington
College).
So how did a nice black kid like you derail from the
Stairsteps to the Stooges?
P. Michael: Because I thought it sounded the same! (laughs all
around) To me, the Stooges had a swing to them. They weren't
like all the other rock groups. The rock groups didn't have that
swing. I didn't know at the time that Iggy and them were
listening to James Brown and playing the blues, but I could tell
that this wasn't Grand Funk Railroad! Grand Funk didn't have
that swagger!
And Grand Funk was from the Detroit area like the Stooges,
and had the word "funk" in their name, so you wonder how
the groove missed them...
P. Michael: They were just so white! They were so straight
(groovewise)! But I enjoyed them, though they weren't soulful.
(discussion of Iggy and the Stooges continues, to the point
where all three of us are excitedly singing bass riffs from the
FUNHOUSE album)
Travis: That is the period (of Iggy's career) that I love!
P. Michael: He was so nasty!
Travis: I never stopped listening to him!
P. Michael: I still listen to him!
Travis: For their show here in Chicago, I treated everybody I
knew and we went!
P. Michael: And then there's the Velvet Underground. The bass
player was John Cale. You could tell that they were listening to
R&B. They only had three records in the (student) lounge - they
had the Velvet Underground's first album, they had the Hollies,
and one other group...I think it was Jefferson Airplane. And you
could tell, between the three of them, who listened to black
music. The Hollies were fun, but they'd be doing their 1-2-3-4,
then the Jefferson Airplane would be (sings a SLIGHTLY
funkier hass nattern). but thev didn't have that (sings an all-the-

“e .
way funky bass line, like the Stooges would have done).
Now what about your own bands?
P. Michael: They were R&B bands but they had a rock swing to
them. We would do covers of King Crimson AND the Ohio
Players. We played at strip clubs, we played talent shows,
people would just open their mouths and go (starts gasping).
We'd open with (Crimson's) "21st Century Schizoid Man" and
then go into "Shaft!"
The strippers would be bumping and grinding to that, huh?
P. Michael: Well, the strippers would dance to the blues. We'd
play some Barry White...
What was this band called?
P. Michael: I don't know, some teenage name...
But no records?
P. Michael: Nothing like that.
So, Travis, the 1960s were changing all while you were in the
military. Were you shocked at the world when you finally
got out?
Travis: What happens outside the military makes its' way into
the military. In the Navy, each year another America came
aboard. The weirdness is, we would go to Europe and hear and
see all the stuff that was going on. The music didn't matter to me
at all. I did not care. I was interested in the performing aspect.
What were they saying? What were the bands talking about?
And most of them weren't talking about anything. If they
weren't talking about something, there had to be something that
moved me. Like Iggy and the Pink Floyd from day one! Then of
course, after getting out of the military in 1969, this other world
that was happening was incredibly fun for me. I had been in
New York when the Stonewall riots happened. I was IN it! I had
never seen such a thing in my entire life. It was outrageous,
going to queer bars. Because for me, the deal with music at that
time was, what could you do on the dance floor to it? Of course,
it was forbidden to dance to so much stuff at that time. You had
to sit back and go (hippie voice) "oh wow."
They had music at Stonewall?
Travis: The Stonewall was a queer dance club. It was a BAR!
What kind of stuff did they play?
You had Eric Burdon, the California sound of course. But the
kinds of things that I recall were things that allowed me to do
things on the dance floor. On the dance floor of these various
bars, you performed! So that, for me, was what the music meant.
I didn't care that much for most of the bands because they really
weren't talking about that much. So they had to sound good. ?
and the Mysterians completely changed my world!
Where did you see them?
Travis: I didn't see them. but from the first moment T heard ?

band) End Result would end the show. And that was our revue.
Sometimes we'd add another band called Pile O’ Cows." Travis
picks up the story. "They were just the wildest white kids you
have ever run across! There was this house on one parcel of land
(in Palatine) owned by one of the members. And it burned!
Before the fire was out, they had called up ONO and other
bands and we were out there PLAYING! Did a whole series of
shows in the ruins as it's smoldering! It was that kind of thing!
These kids were so far afield, as only suburban white kids can
be!"

For all of ONO’s freeform tendencies, Travis insists there's a
method to the madness: "All ONO's shows, they may seem like
they're spontaneous and all that, but they are that and more. I
always begin with a well-defined premise. There's a story being
told. You don't have to see it, you don't have to know it, but it
focuses all the members. It keeps us directed. When there is as
much flexibility as there can be with a group such as ours, then
you can go in all sorts of directions, depending on the number of
people you have who just want to get crazy. No. No. Will not
do. Save that for another day. I want focus on a sustained
premise. Something is leading to something. That focuses all
that energy in another direction.” I got to hear some of that
focus when P. Michael gave me a ride to Travis’ Southside
home to conduct this interview. He popped in a tape of an old
gig that was obviously vintage — it was on one of those Sony
cassettes with the orange and white label that always used to
turn up in the eighties. And sure enough, we heard ONO in full
freakout force, turning it on for a large room full of hardcore
fans waiting for Naked Raygun to go on. And when the song
was over, the cheers and the boos sounded about equal. At
Travis’ home the three of us pigged out on an organic, lo-carb
stoned soul picnic prepared by the man himself that stretched
from one end of the table to the other. We're talking California
flatbread, donut holes, salad, raspberries, blueberries, cheeses,
spring water, chicken soup, not to mention the chicken itself.
Mo' napkins, pleez! Anytime I politely asked for another slice of
cheese or piece of chicken, Travis laughingly told me: "Sure,
you can have another piece, stop acting so polite! Pretend like
you're in Mississippi!" Soon after, we soon got down to the
business of discussing the wild, weird world of ONO:

Travis: I took piano as a child in Mississippi. My great
grandmother, Jenny Carter, paid for my piano lessons, until the
day...1 would play on her piano in this parlor on Sundays. Then
came the day that I just got completely out of order - but I was
having a good time, as I always did - and I started playing the
piano with sticks attached to my fingers (laughs) and making all
this racket! It was crazy! My mother said (low voice) THAT'S
THE END OF THAT! But nevertheless, I started piano lessons
again later as a kid...1 played this piano in the church and it was
a lot of fun, but voice somehow took over from that. Piano sort
of drifted further and further away, simply because playing with
sticks attached to fingers was a lot more fun! After I went into
the military - I was in Vietnam, I was in Cuba, I spent six years.
But after that, I didn't pursue music at all. In fact, since then,
I've wondered many many times do I really like music at all. It's
there, but the things I like aren't necessarily music. I love an
environment of music, of sound...after the military, I floated
around to all sorts of things. I headed to New Mexico to give up
all of my earthly possessions (laughs). On the way to New
Mexico, I stopped here (in Chicago, ca. '79) for a minute, or so I
thought, and ran into P. Michael via a woman named Cathy, his

Que voulez-vous faire?’’
~""What will you do?”’

friend - an outrageous woman. P. Michael had this idea about
doing performance and such, and said, "here, do this." And I
said, "Oh! Okay." And I just lost my way! (laughs) | still haven't
made it to New Mexico to give up all of my earthly possessions.
P. Michael: I just grew up in music. My family was all kinda
musical. My uncle played the trumpet with Duke Ellington. My
father played saxophone, my cousins played piano, bass and
guitar. Started out with piano (myself). 1 just naturally banged
the piano while all the rest of the family could just walk to the
piano and play by ear. It's natural. They did give me formal
lessons, but I would memorize the piece and then pretend like I
was reading it. She'd ask, "Where are you?" and I'd say, "uhhh,
right here!" It was a nun and she'd smack me with a ruler.
Although I can read music, I didn't like to. It made my feet hurt
(laughs all around). 1 didn't like to read music, so | figured I
didn't like to do it the right way, I like to do it my way. So I
would make up stuff. I would always play the classical pieces
but I would throw my own stuff in there. And I would give it a
beat. So then I went to college, because my father had a degree
in music, too. I decided to try and take harmony, but I would
still memorize and play my own way. I knew how to write
music and do harmony and all that, but I learned it for a reason -
so I could unlearn it and tear it up. Know your enemy...so I
knew I wanted to know music so now I can mess with my
own harmonies, do my own thing, untune the piano, untune the
guitar. So my grandfather played the guitar, he had like these
old Spanish classical guitars. He gave me his guitar. So I went
and taught myself how to play guitar in three months. I lived on
a musical block (around 87th and King Drive) - (producer) Carl
Davis lived on the corner, so that would be the whole
Brunswick (Records) people like Jackie Wilson coming by his
house. I would see all them, and they'd be playing in his garage
for like holiday events - Gene Chandler, Mary Wells (not a
Brunswick artist, but she dated Davis), Otis Leavill. On the

TO THIS DAY...

by James Porter

"To this day" is an expression that ONO lead singer (and
occasional pedal steel player) Travis Dobbs (better known as
simply "Travis") likes to use whenever he's talking about
something that has survived a long time, or remained
unchanged. If it made an impact on him twenty years ago, he
will enthusiastically add that the feeling lingers to this day. This
simple three-word phrase probably sums up the career of ONO,
a floating collective of, for lack of a better term, art-rockers
(their challenging drone/noise compositions have been called
“art damage,” their concerts have always incorporated
performance art, and Travis is a fixture in Chicago’s arts scene).
ONO may have changed members periodically over the last
three decades or so, but has kept two members at the very core:
singer Travis and guitarist P. Michael (Grego). While the band
seemed to have its' greatest visibility in the early 80s, the two
men insist that ONO is an ongoing concern that never broke up
and never stops, right up fo this day. So, if the way I keep seeing
ONO every time I turn around lately represents anything, it isn't
so much a revival as it is a resurgence.

Last year they came into my consciousness when Roctober
contributor Steve Krakow (Plastic Crimewave) featured them in
his "Secret History Of Chicago Music" cartoon in the Chicago
Reader. Travis and P. Michael also began to sit in at Krakow’s
various Guitarkestra concerts (the psyche guru’s local
happenings that feature several dozen instrumentalists, mostly
guitarists, wailing away on an E chord). Then I caught the whole
band when they appeared on Roctober's cable TV dance party
Chic-A-Go-Go, as well as at a recent Nina Simone tribute at a
Chicago venue called Elastic. There was even a brief radio shot,
when WGN talk-show host Nick Digilio played their music on
his show (Krakow has a featured spot on Digilio's show,
spotlighting artists featured in his comic). Not bad for a band
that long ago incited boos when opening for Naked Raygun at
Chicago's Metro.

Krakow's strip wasn't the first time ONO made the pages of the
Reader. In July '83, writer Scott Michaelsen wrote a full article
on ONO, featuring a hysterical photo of the band (at that point,
Travis, P. Michael, and Ric Graham) in choir robes That year,
they released the first of two albums on the SST-distributed
Thermidor label, “Machines That Kill People” (soon followed
by another, “Nyenui”). And as diverse as the punk/new wave
scene claimed to be, the guys in ONO really tested the crowd's
patience, mixing and matching formulas like scientists gone
mad. Travis was especially a sight to see and a sound to hear,
going onstage in a full-on, triple-tiered wedding dress, crooning
like Paul Robeson raised up from the dead, Reigning gospel
queen Mahalia Jackson was a major influence — “Nyenui”
included a jawdropping half-acapella version of "Were You
There When They Crucified My Lord," where Travis manages
to sound halfway between Robeson and Bono (Sonny Bono, that
is). And if you think it's shocking hearing him do this on record
in 1984, you should hear him sing along in his own house in
2008. Man hasn't lost a step. I asked Travis what he thought
Mahalia would say if she could hear him, and he figured she'd
say "MORE POWER TO YA!' She's from New Orleans, she'd
understand!" Strangely enough, a lot of the scenesters didn't...
Although they were thrown smack-dab in the middle of the big
postpunk explosion, they always felt like semi-outsiders, even
though they were friends with some of the hipper bands in the
scene. That didn't stop them from outdoing the competition with
outlandish shows. Touring-wise, the farthest they ever got out of
the Chi was an old brothel in Milwaukee, Wisconsin (P.
Michael: "we toured in our mind, but not in our feet"). One
show had them playing in a Northwestern University law school
classroom designed to look like a courtroom (Travis was a
student there at the time); directly above, in Booth Hall, then-
mayor Harold Washington was making a public appearance.
"That was the night Ric's father finally came to see us perform,"
Travis now says. And then I come out in this incredible blue
gown. Ric's father took his cameras and everything and never
spoke to us again!"

That was mild compared to other shows. P. Michael: "As we
progressed, we had an R&B revue, except it was a noise revue!
You'd get three acts and a dirty puppet show. It would feature
two drag-queen dummies that had extra legs attached to them.
We'd have a woman - sometimes a man - in blackface, and they
would talk dirty about the audience. That would be the opening
act, like Moms Mabley. And then ONO would come on and do
their thing, and then (Chicago experimental No Wave/noise

L-R Graham, Travis, P. Michael at Exit
The goggles were functional (an eye-threatening performance)

larcit} a fength ene from alo eos ren

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Za Bakdaz

Klaus Nomi’s Unfinished Opera
Heliocentric

By Madeline Bocaro

As one of the few lucky humans to have
witnessed Nomi’s brief earthly visitation, it is with
mixed feelings that | write. Arriving within a third-
life of Haley’s comet - 25 years after his death -
a new disc of unreleased Nomi product is a
treasure, no matter what. Perhaps so many
years without a new utterance from this
astronomical being brings too many great
expectations. Therefore, five words sum it up - is
that all there is?

After recording only two studio albums for RCA
in 1981 and 1982 and making a splash on the
new wave scene with his extraordinary live
shows, the strangely gifted, bizarre and alluring
Nomi died in 1983. His early collaborators,
George Elliott and Page Wood have resurrected
some experimental demo tapes made in New
York on home equipment in 1979, and
assembled them into a gorgeous, artful package
in dedication to their winged friend Klaus. The
lengthy fictitious, nonsensical sleeve notes
prove that they are indeed in their own galaxy,
as was their other-worldly pal. However, it is
presented as a new Nomi disc - his ‘unfinished
opera’ - when it is in fact an Elliott)Wood
production, sampling Nomi’s vocals.

The alien soundscapes of Za Bakdaz literally
seem to frame the wailing of a sad, distant
ghost. Fragments of precious operatic Nomi
vocalizations (mostly phonetic, and therefore
even more haunting) are interspersed with
classical and spacey orchestrations. Nomi loved
and merged retro and futuristic genres in his
lifetime.

There are flourishes of brilliance, but not on
every track. “Finale”, “Overture” and “Za
Bakdaz” are basically the same piece of music,
and the entire opus runs just over 30 minutes.
Some of this material was released on the Za
Bakdaz single in 1998, including Nomi’s flippant
“Silent Night”.

When we find fault in this, we should ask,
‘Should these few precious Nomi gems have
been left in a shoebox in the closet, or released
for the world to hear?’ If this is truly all the vocal
material Elliott and Wood had to work with, they
certainly did the best they possibly could.

Nomi’s eyes welled up with sincerity during each
live performance, and his pure emotion
transcended on record. He would disappear in a
mist of dry ice at the end of each spectacular
performance, leaving his audience paralyzed
with reverence. Klaus returns on this disc, ever
so briefly, then quickly vaporizes into the ether -
freezing again to death. But | have a strange
feeling he'll be back!

For more details, go to:
www.zabakdaz.com

Read Madeline Bocaro’s Klaus Nomi feature
Roctober #19 (1997):
www.roctober.com/roctober/greatness/nomi.html

See The Nomi Song documentary, now on
DVD:
www.thenomisong.com

| mean, a bubble goose was something | came and did
wwith Rick Rubin. Genius. Wizard. And with Rick Rubin, he
had an idea with South Park. Like, | had a song on The
Carnival which was called "You Can Catch A Bullet On
Your Bubble Goose." The bubble goose was a goose that
we wore back in Brooklyn, this real leather goose. And you
stand on the corner like this with the goose, and basically,
we're saying no matter how tough you are, at the end of the
day you could still catch a bullet, star, so you have to be
careful.

Wyclef, | also want to ask you about this gentleman
right here. [Nardwuar pulls out a Louis Farrakhan 45] The
Charmer. He is on your CD, Farrakhan, as The
Charmer, right?

Yeah, yeah, you have it right here.

What can you tell people about The Charmer, Louis
Farrakhan?

Well, | could tell you what | could tell you about the Minister
Louis Farrakhan, that this is why he's on the CD. And this
is what | love about the Minister, because a lot of times
people take the Minister so seriously that they forget that
the Minister is a great musician. And there you have it right
here, you know what | mean?

And on the political tip, you did "Yes We Can Obama."
You helped out with "Yes We Can, Obama." Did you
know that there's "Yes We Can McCain?" There's a
comeback to that.

Listen, | haven't done "Yes We Can Obama"... yet.
Will.i.am did, John Legend did...

Didn't you help out with that though?

No, no, no. And they have a "Yes We Can McCain," right.
So now, tomorrow I'm about to shoot my official "If | Was
President." OK? So now I'm gonna go against McCain! You
know what I'm saying? So get ready for the retaliation,
Republicans, because I'm coming! [laughs]

Wyclef Jean, on a political tip, here we are in Canada.
Now, did you know there's some Canadian
connections to Wyclef Jean?

[Clears throat] Yeah, | got a little connection.

Well, the first one | want to mention is Michaelle Jean,
the Governor General of Canada, is from Haiti!

Yeah, she's definitely from Haiti. She's definitely a Jean.
And she's the Governor General appointed by the
Queen! Canadian connection!

Definitely big-time connection. Shout out to her! We've
spoke a few times. She talks a lot about some of the
initiatives she wants to do to go into some of the ruined
communities. And | look forward in partnering up with her
making it happen.

And another Canadian connection is you and The
Fugees did the song "Nappy...

Heads.

And you sampled Canadian, Corey...

Go ahead, tell me.

Corey Hart!

| know Salaam (Remi, producer) sampled him.

No, you sampled him!

| know, I'm test...

Well, The Fugees repped Corey Hart, didn't you?
"Sunglasses At Night." You gotta give it up, Corey
Hart! /laughs] You've gotta give the Corey Hart some
juice.

Alright, let me do that. Corey, let me tell Corey the true
story. Corey, listen man, when | was working in the factory
at night with my father, that joint came on, and | was like
16. [Wyclef sings] "| wear my sunglasses at night! So |
can...!" [fends singing] And | was like, "One of these days,
when | make it, I'm gonna sing this Corey song." [Laughs]
So big up to you, loved that record.

“Nappy Heads" by The Fugees. Well, thanks so much,
Wyclef Jean! Anything else you want to add to the
people out there at all?

Yo, you got the new CD, Carnival 2? Because you're an
expert, you brought all of this stuff here [Points to Elephant
Man and Farrakhan 45s J], but you have not shown the
people my freakin' CD. Why? Do you not like me?

These things are all over your new CD! Elephant Man!
Farrakhan! Of course, it is!

Let me tell you, though, | ain't gonna lie to you, [Wyclef
point to Farrakhan 45] this is very impressive, man. And
you know, he's (Farrakhan) playing violin too on the CD.
That's what's up, man.

Why should people care about Wyclef Jean, Wyclef?
Because Wyclef cares about people.

Alright, well thanks so much Wyclef Jean! Keep on
rockin’ in the free world and doot doola doot doo!

Let me get that sweater. [Wyclef point to Nardwuar's
Sweater]

Uh, almost! Doot doola doot doo ...

Doot doo.

NMR An)

REL
PSB by

Nardwuar
the Human Serviette

VS.

Wyelet Yeau

Nardwuar: Who are you?

Wyclef Jean: | am you and you are me. Therefore, | am
Wyclef and you are?

Nardwuar The Human Serviette!

You know what it is, baby, the same thing, and we's talking
about your shirt earlier. | need one of those. [Wyclef points
to Nardwuar’s Canada Sweater]

You really want one? If this was 1989, this shirt would
be gone from me. How is that?

That shirt would be gone from you, man. I'd come up to you
and be like, "Yo homie, that's a nice shirt, let me borrow it."
And that would have happened where?

Brooklyn, baby. | woulda asked you to borrow the shirt. |
woulda took it, and then you woulda came back and like,
"Clef! You got my shirt!" And | would be like, "| got you
man, just wait another week!" [laughs]

Wyclef, do you make people lucky? How come you
make people lucky?

| mean, you know, sometimes they call me "The Wizard,"
you know what I'm saying? So you come to the studio, and
you come to the Wizard. And you say, "Mr. Wizard, | need
a Top 10 on the Billboard. Can you help me out?" And | go
into this magic potion, you know? [Laughs] And | say, "I
can't make no promises, but we'll try."

You make people lucky even just by being around
them. Didn't a roadie for The Fugees once win $21
million in a lottery?

Yeah, yeah, yeah, definitely! How'd you know about that?
[laughs]

ics ae ee

| heard, this roadie from The Fugees, a roadie or a
sound tech, won like $21 or $22 million!

Yeah, a roadie, yeah. So you know what that means after
this?

You got limos?

Yeah, yeah.

Like from the beginning, you guys got the limos.

Man, | got the limos, | got the planes from the beginning,
baby, get it straight. Not the limos. [Laughs]

But one thing you don't have, Wyclef, is a doll. There's
no Wyclef doll! How come there's no Wyclef Jean doll?
It's still a little early, you know what I'm saying? | want to
pace myself, you know what | mean? | want a good 35
years in the game, and I'm not ready for the doll yet. I'm not
ready yet.

Wyclef, what about your $50 million car collection?
Man, yo, how do you know my whole business, man?

Well, you're Wyclef!

[laughs] | mean, you know, as someone collects Picassos,
which are great artifacts, | collect cars.

And you give them away. Did you give one of your
cars away?

Someone is gonna win one of the cars from The Carnival
(Wyclef's new CD), too, actually.

| thought they already won it in December. You haven't
given it away yet?

| didn't give it away yet, because they've gotta get their
lucky ticket, you know I'm saying? Once they get that, the
car's a 1932 Zebra. Incredible car.

Wyclef, is there a stolen car dance?

Yes there is, it's called "A Stolen Car." [Wyclef moves his
hands like he is driving a car] You might see it on
YouTube. Get it. And you know Norton, New Jersey, you
know what | mean? You get in the car, you whip it. Once
you whip it, take off, baby. Take off, baby. Take off. [Wyclef
looks at Nardwuar] You still didn't do it, man. Take off in
the car, man.

We have more important things! We have more
important things here, Wyclef! This gentleman right
here, the Elephant Man. [Nardwuar pulls out an
Elephant Man 45]

Yes, this is my bredjin right here, man.

And here he is doing the "Sesame Street Theme." The
Elephant Man is on your new CD too. And you have
some Sesame Street connections, don't you, with
Elmo?

Yo listen, you know what's funny about that, is that my little
daughter is, like, two-and-a-half, right, and | forgot... |
mean, I'm real connected with Elmo. But another person
I'm real tight with is Cookie Monster. We're real tight, we're
real good friends. What's up, Cookie Monster? And the
thing about it is, I'm in the studio with my daughter, and |
put her to sit down, and | forgot that | did something with
the Cookie Monster, and | put on the CD, and she comes
running to see. "Daddy! The Cookie Monster!" So | go run
and then it's me and the Cookie Monster dancing. [Laughs]
Wyclef, what about South Park? South Park and
bubble goose? What is "bubble goose?" You did
something with South Park. What is a "bubble goose?"

PS ST. What do you get when you mix influences from Chicago, Quebec, Provence and Austin?
ae Hint: It's shaken, not stirred.

Sainte-Fortunat brings a Texas flavor to Chicago-based singer songwriter

Pamela Richardson's beautiful. haunting melodies, which call up stylistic comparisons
to Gene Clark. Her resonant voice and rich, illustrative lyrics have been the basic
elements of her recordings with the Pralines, an American outfit with introspective
songs supported by jangly sixties melodies and rhythm. With Sainte-Fortunat, it's
apparent that the next great singer songwriter to emerge from Austin's rich musical
talent pool actually lives a thousand miles away.

- Rush Evans

Te. \ geen

saa 2) be PAMELA RICHARDSON

Produced by
Texas Music Hall of Famer

(ROKY ERICKSON,
THE EXPLOSIVES)

www. myspace.com/pammysongs www.steadyboyrecords.com

The new psychedelia for the new Summer of Love — ‘
BUSES ES aT STE

Available at Spade Kitty Records, CD Baby, Amazon.com, iTunes, Bomp! Records

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RCCTOBER #45 SUMMER 2008
1507 E. 53"? ST. #617 CHICAGO, IL 60615
WWW.ROCTOBER.COM
MYSPACE.COM/ROCTOBERMAGAZINE
ROCTOBERMAGAZINE@GMAIL.COM

EDITOR’S NOTE: Trying some new things this issue,
mainly a flip book commix format. Hopefully you dig.

- Jake Austen
TABLE OF CONTENTS: COVER ART - Kelly Kuvo. P. 6: Wyclef by
Nardwuar. P. 8: Nomi by Madeline Bocaro. P. 10: ONO by James Porter
P. 14: PJ Proby by Ron Tennant. P. 20: Lenny Bruce by Jonathan
Poletti. P. 25: Letters, Columns, and Updates by Madeline Bocaro, Gary
Pig Gold, R. Bannister, Robert Dayton. P. 33: Martin Willis by Ken
Burke. P. 45: Final Curtain by Gentleman John Battles. P. 51: Waymon
reviews (illustrations by Bratto & Gobliko). P. 72: Funkarelics by Pedro
Bell. P. 82: Cleveland Heckler by Mike Faloon & Frank Leone. P. 83.
Chic-A_Go-Go Comics by Gene Booth, Stu Helm, Alex Wald, Archer
Prewitt, Plastic Crimewave, Brad Oexman, Matt Madden & Mike
Twohig. P. 86: Serge Clerc by Jean-Emmanuel Deluxe. 89: Simulacrum
by Kat Roberts. P/ 90: Internals by Gene Booth, Rian Murphy, Dr.
Goldblatt, Dan Osborn. 93: Medicine Show by Slink Moss. 94: Comics
by King Merinuk, Plastic Crimewave, Mike Twohig, Reglar Wiglar,
Christophe Meyer, Jason Mitchell, Slow Poisoner, Hawk Krall, Jenny
Zervakis. 98: Gumballhead by Rob Syers. 106: Totally Sammy by Brad
Oexman. 107”: Romantoc Momemnts by Brsatto. 108: 39" by Kat
Roberts “Back” Cover by BradOexman.

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